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Tankard > Beast of Bourbon > Reviews
Tankard - Beast of Bourbon

Beast of Endless Pleasure - 100%

Soul_Sucker_666, January 15th, 2024
Written based on this version: 2004, CD, AFM Records (Digibook)

Tankard, positioned as the fourth member of the Teutonic Big Four in the European thrash metal, is often deemed the least renowned and notably underrated. Relegated to the tag of "alcoholic clowns of thrash", the band faces a prevalent lack of serious acknowledgment. Despite Tankard contributing to this reputation through their own self-presentation, it is, in essence, a substantial and unjust misjudgement and misunderstanding.

Allow me to explain why Tankard holds immense significance, not just within the realm of thrash metal but in the broader scope of the metal genre. Primarily, their musical prowess defies any notion of frivolity. The band's debut album emerged when certain members were a mere 16 years old, yet even in this early release, the music demonstrated a level of maturity and technical sophistication surpassing counterparts who were older and further into their discographies. This maturity is evident in the serious guitar riffing, accomplished solos, and an original and distinctive style.

Tankard's musical prowess, marked by tight compositions and adept playing, was apparent right from their initial ventures. Albums such as "Zombie Attack", "Chemical Invasion", "The Morning After", and "The Meaning of Life" showcase some of the most exceptional thrash metal compositions ever penned. Tracks like "Of Strange Talking People Under Arabian Skies" stand as a testament to the band's elite songwriting capabilities.

Furthermore, when delving into Tankard's lyrics, it becomes evident that while alcohol and humour remain prominent themes, they are far from the band's sole focus. Iconic anthems celebrating beers, zombie invasions, alien beer thefts, the sanctity of pure beer, beer paradise, the barman being their idol and hero and of course hangovers are undeniably popular, yet a closer examination of their extensive discography reveals a diverse array of subjects.

From their earliest albums, Tankard has tackled weighty themes such as politics, social issues, environmental concerns, anti-fascism, anti-racism, anti-religion, and a critique of the prevailing political system from a distinctly leftist perspective. Their lyricism extends to contemporary issues, including the adverse effects of social media, anti-war sentiments, and more. In truth, the ratio of serious to light-hearted lyrics may lean towards the former.

In essence, Tankard stands out as a rare breed, offering a rich variety of thought-provoking and critical lyrics that address numerous facets of our lives. Despite their adeptness at injecting humour into their themes, it is worth noting that the band has skilfully navigated the challenge of being associated with alcohol while still delivering profound and meaningful content— a feat that distinguishes them from other bands attempting a similar approach but often resulting in total disaster.

I personally categorize the band's history into two distinct periods: the illustrious era predating the current line-up and the ongoing phase since 1998. It's truly commendable and worthy of respect that they have maintained the same line-up for so many years. While the latter period may be deemed less glorious, it stands as a testament to stability, with the majority of records being, at the very least, listenable. I find only a handful to be categorized as subpar, much like the select few that I regard as truly outstanding.

In my humble opinion, 'Beast of Bourbon' stands out as the best among their discography with the current line-up. It is the only one that can genuinely be compared to the classic albums. Every aspect of this album is sheer perfection. I had the privilege of witnessing Tankard live for the first time during their tour for this particular release, and that concert holds a special place in my heart and memory as one of the most unforgettable experiences of all time. It was pure metal fun at its finest.

Let's delve into the musical aspects, particularly since the inclusion of guitarist Andy Gutjahr, whose presence has infused the band with a distinctive signature sound. Across the albums featuring Andy, Tankard has cultivated a style that defies easy categorization. It could be described as a fusion of classic German thrash elements blended with a more brutal and thrashy iteration of Accept's heavy metal style.

"Beast of Bourbon" seamlessly fits into this evolution, boasting some of the most memorable and captivating riffs crafted by Andy. The album exudes aggression and unrelenting intensity, characterized by straightforward riffing with minimal reprieves. Gutjahr's right-hand picking technique is notably skilful and precise, contributing to the album's overall ferocity. The songs maintain a consistently fast and violent pace, skilfully combining ferocity and aggressiveness with moments of catchiness and occasionally unveiling hidden melodic segments.

The drumming, mirroring the intensity of the guitar work, avoids unnecessary technical flexing. Instead, it remains focused on delivering a relentless and precise performance, even if it means sacrificing a broad range of beats and fills. This approach aligns perfectly with the demands of the songs. The bass, too, is wielded with precision and creativity, as evidenced in moments like the standout performance on the track "The Horde". It complements the overall sonic landscape.

Gerre delivers one of his most exceptional performances, skilfully blending aggressive screams with occasional melodic moments. While Gerre is not known for surprising vocal versatility, maintaining a consistent style since the first album, he never fails to deliver a powerful performance. His proficiency in his distinctive singing approach showcases his mastery, consistently meeting expectations with excellence.

Lyrically, the album seamlessly blends the light-hearted, humorous themes with the more serious and thought-provoking ones. For instance, it resurrects the iconic alien character from the band's early days in the track "Alien Revenge", while also offering a unique perspective on the concept of dying with one's boots on—albeit in this case, with a beer in hand.

Contrastingly, "Under Friendly Fire" tackles weightier subjects like the toll of war, amphetamine use, friendly fire incidents, and the internal struggles of a U.S. soldier amidst the arrogance from both the soldier's and the state's perspective during the Afghanistan conflict. Meanwhile, "Genetic Overkill" expresses concerns and criticisms related to biotechnology, specifically targeting multinational corporations such as Monsanto. The album, therefore, presents a diverse lyrical landscape that caters to both the band's signature humour and a more contemplative exploration of societal and other issues.

The production on the album is distinctly modern, characterized by a loud and clear sound that avoids the overproduced or plastic quality often found in many releases of its time. The credit for this achievement goes to none other than the accomplished German, Andy Classen. With an impressive CV in the metal industry, Classen has made significant contributions both as a musician and, more prominently, as a producer. His involvement in shaping the album's sound reflects his seasoned expertise and commitment to delivering a production quality that stands out in the metal genre.

In conclusion, it's crucial to highlight that there isn't a single filler track in this violent compilation of songs. For enthusiasts of thrash metal, if you've skipped this gem, I strongly recommend giving it a listen now. It stands as a modern masterpiece in thrash that has proven its enduring quality over time, destined to start endless mosh pits and cause relentless headbanging.

ENDLESS POGO - 98%

Gemesion89, January 10th, 2024

Tankard have always been releasing good albums, even in the '90s when thrash metal came to a halt, and good releases were few and far between. Many bands started experimenting with different musical styles and introducing new elements in their music. Tankard on the other hand, have never been a thrash metal band like the rest, in a sense that their music and lyrics deviated from the norm, which demands thrash to sound dark and evil. Since their very first album they paved their own way, introducing the fun element in their music and lyrics. Like Exodus would say, it's 'good, friendly, violent fun'.

I had the opportunity to see them live numerous times, and the thing l remember the most is how much of a thrash feast these guys are able to create. Their live performance is an alcoholic celebration of thrash metal with raging moshpits and endless headbanging; the essence of thrash metal.

The start of the new millenium found many '80s bands releasing exceptional material, especially in Germany, where their counterparts Kreator, Sodom and Destruction released probably their best albums since the '80s. Tankard was part of this too. 'Beast of Bourbon' marks, as the title suggests, the rebirth of the rabid beast that is as hungry as ever. Indeed, what we see here is probably Tankard's most aggressive album to this day, that is easy to realise from the very first seconds of the opening track 'Under friendly fire'. Gere and the rest of the band sound really pissed off, like the intoxicated, bloodthirsty dog on the front cover that's looking for posers to devour. Tankard are not playing games here. This is straightforward, fast and aggressive thrash metal the way it needs to be done, the Tankard way. That does not mean that the fun is absent in this album. Fine examples are songs like 'Die with the beer in your hand', probably a not-so-indirect mock of 'true metal' warriors like Manowar or 'Alien Revenge', a story of an alien that stole Gere's beer, leaving him a mess.

The music is primarily fast, featuring standard double bass drumming, and razorsharp riffs combined with perfectly executed, occasionally melodic, solos. Musically it does not stray far from its predecessor B-Day, however, 'Beast of Bourbon' sounds more aggressive yet more melodic at times too, adding variety to the songs. What also distinguishes this album from the previous is the production. Although Andy Classen is responsible for the production on both albums, he's done a better job with this one. It's cleaner and heavier, enhancing the overall musical experience.

If you like thrash, together with a bit of fun, there's absolutely no reason to overlook this album. Drink a six-pack, blow up your speakers to the max and enjoy the thrash metal ride!

One of the most agressive Tankard albums - 93%

criscool623, June 30th, 2020

It's time to talk (once again) about the kings of beer, and this time, with one of their strongest and more devastating albums.

We have seen throughout my reviews that Tankard overflows quality and personality. However, their music followed almost always a partyish and humoristic approach (despite having some actual strong songs within their discography such as "Death Penalty", "Serial Killer" and "Commandments"). "Chemical Invasion" had been their masterpiece; a savage, but virtuous album that showed their best facet as a band. During the '90s (as most of thrash metal bands), Tankard experimented a kind of weak and little inspired age, along with some line-up changes. "B-Day" had been the album that showed a better and more inspired band, but "Beast of Bourbon" went beyond that. It was, possibly, their most aggressive album since "Chemical Invasion".

From the beginning, "Beast of Bourbon" smashes the listener's ears with "Under Friendly Fire". The power that Tankard displays in their execution and performance is overwhelming but fascinating. It's pure madness, and the album does not lose strength during all the first half of the album. Since the beginning to "The Horde", the songs feel monstrous, but each of them has something that distinguishes them from each other (such as the tapping solo from "Slipping from Reality, the interlude of "Genetic Overkill" and the main riff from "The Horde", to mention some examples). All of these moments make the songs even better and more effective.

The second part of the album if slightly less-impressive to the rest. This part starts with "Endless Pleasure", which, despite not being a bad song, it's notorious that the album loses a little the strength that the album built up with its first half. "Endless Pleasure" doesn't stop being great, adding some clean guitar arpeggios and a more melodic approach. However, it's notorious the lost of power. "Dead Men Drinking" and "Alien Revenge" are good tracks and they follow the same line that the rest of the album, but less special; they do not have the grandiloquence of the rest of songs and pale before the last tracks of the album. "Fistful of Love" and "Beyond the Pubyard" recovers that majesty and strength with powerful riffs, speed tempos and a lot of adrenaline injected in their DNA. A worthy ending for a great album.

In general, every member is competent and their work builds up the wall of sound that is this album. However, I'd like to highlight the work of both Olaf Zisssel and Gerre. Olaf's performance feels energetic and bestial, and his adrenaline is notorious and contagious to the listener. Gerre is a beast; despite not having his "classic" childish voice style anymore, he displays a more mature, but equally visceral voice that makes him stand out. These guys may not very very prodigious performers, but they really know how to do excellent thrash metal.

There's no much more to say. "Beast of Bourbon" is a crushing album and shows a more violent Tankard. There are a couple of not-very-impressive songs, but this does not demerit the experience; these songs are like "Escape" and "Trapped Under Ice" from "Ride the Lightning" (the weakest songs of the album, but nothing despicable). Listen to it. It's not a suggestion, but an order. Go and check it if you claim yourself to be a thrash metal lover. You will not regret at all.

Mind the marmalade! - 75%

Felix 1666, September 16th, 2016
Written based on this version: 2004, CD, AFM Records (Digibook)

The 22nd of March 2004 has a special meaning for me. Okay, "Beast of Bourbon" was released on this day, but it is also the birthday of my second child. (Please add a triumphant fanfare at this point.) It goes without saying that this date marks one of the best days of my life. In view of the connection between my son's birth and the here presented album, I am maybe too lenient in the assessment of this output. With that said, let's try to be objective. "Beast of Bourbon" houses some very good songs, but a handful of tunes does not hit the nail on the head. Anyway, the crystal clear production and the belligerent attitude of the band generate a very stormy album. The level of heaviness is amazing and the best tunes show an ironclad appearance. In this context, "The Horde" must be mentioned, because it reflects the unbroken enthusiasm of the musicians very well.

Kicked off by harshly sawing guitars, "The Horde" is constantly storming forward. Tankard light a thrash metal rocket which is crowned by its devastating chorus. Obviously, the chorus is more or less free from melodies, but despite their vehemence, the verses and the bridges are equipped with the necessary amount of varied riffing. The solo offers some harmonies as well while giving the track its ultimate thrill. Do yourself a favour and enjoy this luxurious slap in the face of the listener. "Under Friendly Fire" is based on a comparable pattern. Its chorus does not even offer a modicum of melody as well. Too bad that the song also does not offer any other advantages. Pure staccato alone does not shape a glorious opener.

However, the guys with the tiny little weakness for alcoholic liquids ("Dead Men Drinking" scores with furious parts) still have a fine sense for the integration of thrash-compatible melodies. "Die With a Beer in Your Hand", the longest track, underlines this statement. It combines almost sentimental guitar sounds at the beginning (and at the end) with razor-sharp guitars that dominate the main part of the song imperiously. A great track, no doubt at all. But I fear that it will become a kind of final challenge to die in accordance with the metallic requirements. I need a beer in my hand and Bruce Dickinson told me that I have to wear boots as well. (I do not even possess a pair of boots. Guess I need a good timing in order to take my last breath in a shoe shop. By the way, how does a Sabaton fan die? Will he suffocate in a pot of clumsy marmalade? Don't know.)

Anyway, I still have some other things to do before I make my date with this idiotic guy with the scythe. For example, I must praise "Slipping from Reality" in view of its very good flow which withstands the destructive force of the sharply piercing guitars. Unfortunately, the majority of the further tracks cannot keep this amazing quality level. Although the album spreads a pretty fresh atmosphere, Tankard work a little bit too experienced. The alien celebrates his comeback, not only on the artwork but also with regard to "Alien Revenge". That's okay - with the exception of the opener, all songs are okay or (much) better. However, it is not a triumph of creativity to exhume the alien in order to fill the album. The same goes for the non-essential cover version at the end of the full-length. But don't get me wrong, "Beast of Bourbon" celebrates pure and stainless thrash and it has enough power to make fans of the genre happy. Nevertheless, if you want to meet the creator of the true masterpiece of the 22nd of March 2004, you must send a message to my e-mail account.

Another stein-hoisting masterpiece - 93%

slayrrr666, May 10th, 2013

The eleventh studio full-length from Germany’s heaviest drinkers Tankard, “Beast of Bourbon,” is yet one more entry into their recent outpouring of chaos-laced classic thrash metal and proves the band is only getting better with age and experience.

The first half of the album finds the band in familiar tomes, as they tend to repeat the material found on their previous album which features a charging, chaotic vibe from the guitars. These are just off-the-rails frantic guitar riffs running throughout this release that’s carried over again from their more recent work yet retains that old-school flair and dynamics in the songwriting, which allows these songs to rattle through at breakneck pace that induces instant head-banging. These are propelled through their paces with furious up-tempo drumming that knows when to get technically indulgent or stay back in the background and thrash away, and when mixed with the usual Tankard standard of intense, aggressive guitar-riffing the first half can be quite a bit of fun.

By contrast, the second half of the album is a lot more melodic in tone, still charged with aggressive riffs, technical drumming and a pounding old-school thrash mentality, but there’s a distinct and noticeable lack of energy that made the first half so electric. There’s some fine songs here, no doubt, and a few of them have a spark that runs through their core that makes them at the very least listenable, but it’s a slight downturn in intensity that makes a really pronounced effect on these songs compared to the first half’s selection.

Opener ‘Under Friendly Fire’ is up-tempo and raucous with some technicality in the riffing, but that’s not nearly enough to make it really distinctive as a typical Tankard opener, while ‘Slipping from Reality’ has a slightly more melodic main riff that’s charging enough to work and better vocals that allow this a bigger sense of momentum on the album. The band then hits pay-dirt with three utterly impressive numbers that are true Tankard standouts and simply revel in their old-school thrash attack tactics with chugging and overall aggressive technical riffing, blazing drums and an overkill vibe of general thrash panic than never gets old. ‘Genetic Overkill’ has a great chugging groove that’s guaranteed to get bodies out of their seats and uses a series of well-placed tempo variations to great effect. The all-time classic ‘Die with a Beer in Your Hand’ is one of the most aggressive and intense songs in their catalog featuring a classic thrash main-riff with intense guitars, charging lyrics and bombastic drumming, creating one of their better epics ever. ‘The Horde’ is almost as good with a classic blazing thrash riff with furious drumming and doused with enough technicality to stand-out, creating three classics and ending this first half on a positive note.

Offering a melodic take on their style, ‘Endless Pleasure’ is almost as if it’s a break from the chaos before it with a moody intro and mid-tempo pacing that’s still loaded with great solid thrash riffs throughout. The more traditional ‘Dead Men Drinking’ offers better energy and overall vibe, and despite a lackluster main riff this still becomes fun because of its intense thrashing atmosphere present. ‘Alien Revenge’ is more of the same with charging riffing and an absolutely relentless pace that drips of old-school thrash glory. The band slips somewhat slightly with ‘Fistful of Love’ with a minor return to the punk-like influences that showed the band had really out-grown the style altogether but is still a solid and traditional thrash effort when it gets down to business. Album-closer ‘Beyond the Pubyard’ forsakes the more traditional thrash approach and instead goes for more of a chaotic vibe without much in the way of memorable riffing, but the energy and enthusiasm makes for a rousing and raucous ending.

This is still pretty much a total modern-Tankard release as it strives for the blending of sheer chaotic riffing in an old-school thrash framework and pulls it off more times than not. This approach manages to place three upstanding classics into their collection and a healthy dose of listenable and fun tracks without much in the way of serious flaws as only a few songs on here could be called as misfires. The band is fired up, vibrant and more energetic than ever before here in the new millennium with a third strong outing that crushes, and this makes for a superb continuation of their previous albums which are filled with the same intensity and aggression here, allowing this to stand alongside their golden early days as essential thrash from these masters.

Uglier, fatter and STILL alive - 80%

autothrall, June 16th, 2010

German alcoholics Tankard have long been a personal favorite of mine, one of the few lowbrow humorous thrash metal acts to have survived the ages intact without losing their edge of humor. This is not to imply that their musical record is spotless, and while I worship the band's first three albums, their output since that time has been inconsistent, tending to roll back and forth in quality like an endless stretch of hills, covered in hops & barley. From time to time, they will release an album that guides your nostalgia straight back to their early days, and 2004's Beast of Bourbon, their 11th full-length album, does exactly that. More or less...more than less.

Essentially, this album represents a dialing back of the years to The Morning After era (one of my favorite Tankard albums), only it adorns a modern Andy Classen mix that closely resembles the relentless power of Destruction's amazing 'comeback' album The Antichrist (which was not recorded by Classen), or Ritual Carnage's I, Infidel. So what you have is a whole lotta songs that sound as if the band is once again primed to break into the chorus of a "Commandments" or "Shit-faced", only these are all new tracks worthy of fist pumping and liver murdering mayhem. It's a lot like the previous album B-Day, only more brash and angry, and retains the same four-piece lineup the band had held since 1995's hedonist statement The Tankard.

The only real thing holding Beast of Bourbon back is that several of the tracks feel very repetitive of material from the previous album. "Under Friendly Fire" seems like it could be a "Notorious Scum" or "Rectifier Part II", and "Slipping from Reality" and "Genetic Overkill" don't fare much better. None of these is a task to listen to, mind you, and if it's mindless headbanging momentum you seek, they all deliver, but I just didn't connect to any of the riffs. Once we drink a little deeper into the record's cups, we encounter some more intense fare like "Die With a Beer In Your Hand" and "The Horde", both benefiting from some slightly catchier rhythms. For almost the entire remnant of the album, this level of quality holds, though a few tunes slightly deviate from the course: "Endless Pleasure" is moodier and the vocals more melodic, and the delightfully perverse "Fistful of Love" has perhaps the best riffs on the entire effort, if you can manage not to laugh to death at the lyrics. "Alien Revenge" also rules.

Personally, I did not care much for the Cocksparrer cover bonus track "We're Coming Back", but it seems a suitable biergarten anthem for the less discriminating Tankard maniac. Andy Classen did a pretty outstanding job with the production, as it really creates this crashing, loud atmosphere that never diverts from the fluidity of Andy Bulgaropulos' endless cask of riffs. The musicians once again impress with the amount of energy they dispatch here, and Gerre entertains with his usual wasted-Schmier charisma. I can honestly say that Beast of Bourbon is one of the better albums of the 21st century. Of course, almost any Tankard is better than the leagues of alcoholic thrash wannabes that have sprung up since this album, but here you've got the riffs to match the attitude, on most if not all of the individual tracks.

-autothrall
http://www.fromthedustreturned.com

...And They Learned To Thrash Again - 85%

Warpig, June 25th, 2009

In the late 90s Tankard started to learn how to thrash again and by 2004 you could be certain to find at least a few potential Thrash Metal classics on a new Tankard release.

On "Beast Of Bourbon" those classics were certainly "Under Friendly Fire", "Slipping From Reality", the anthemic "Die With A Beer In Your Hand" and perhaps the closer "Beyond The Pubyard". This is really a pure Thrash album, because apart from "Endless Pleasure" it includes only Thrash Metal songs and typical of Tankard, that only non-Thrash Metal song is one of the highlights on the album.

The other songs of the album are not nearly as strong, but first of all the intensity due to the brutal production makes up for a few weaknesses, and there are also some nice ideas that save the rest from mediocrity, e.g. the double bass in the pre chorus in "Fistful Of Love" (and later during the chorus), the completely hysterical over-the-top screaming in "Genetic Overkill" or the chorus in "Alien Revenge".

If you ever think about buying this album, try to get, by all means, the limited edition, because Tankard's cover version of the Cock Sparrer classic "We're Coming Back" is fantastic, even by Tankard standards - and that means quite something.

"Beast Of Bourbon" includes one great mid-tempo track and nine of the heaviest songs this band has ever recorded (completed by the brutal production), and although "only" half of the album is classic material, the relentlessness of the songs and a few nice ideas make for an enjoyable listening experience throughout.

Strong Thrash Release - 83%

KayTeeBee, October 10th, 2004

I've never heard of this band before, but I heard they were awesome, so I picked up their latest release. What we have here is a brutal and agressive thrash album, with sick leads and amusing lyrics.I'm not the biggest thrash fan out there, but this is great. Riffs are unique, and the choruses are great too. The song structures are your generic metal band structure (intro-verse-chorus-verse-solo,etc.) Drums are great too, not too loud. Harmonized leads are amazing, though sometimes a bit too repetitive. I especially like when the vocals follow the guitar line (like in certain choruses).

The best song on this album is "Die With a Beer in Your Hand". Great intro with harmonized guitars, and stunning lyrics. This song doesn't have a single weak riff in it. Vocals are brutal and agressive, but the lead is a bit too weak. A stronger solo would've been appreciated. Another great song is "The Horde". This one brutal and agressive riffs once again, though this one has a stronger solo. I found the verse riff to be a bit too boring though.

Overall, this is a solid thrash release, and most thrash fans should enjoy it.

You stole my beer, I want it back! - 94%

Sidewinder, August 19th, 2004

We all know by now that Tankard never disappoints, but I honestly was expecting just more of the usual alcohol fueled thrash metal, not something that would stand out heads and shoulders above the great majority of releases these days.

Here's the premise of this album: an alien stole Tankard's beer and they got madly in anger with him. Instead of whining about it like retards, they pounded his head in and slammed 'Alien Revenge'. "Die Alien Die - You stole my beer, I want it back!" But they didn't stop there, and added 10 other songs for our headbanging and drinking pleasure. I won't spoil any other bits - go read the lyrics for yourself, or better, sing them along to the music. They range from hilarious to absurd to pissed with society, all of which are of course ok with me as long as they keep thrashing harder than anyone out there.

The vocals range from half-clean to half-scream, they just go with the flow which consists of fast, faster, and a few slower parts which are all justified by interesting melodies. These are short and just lay the ground for yet another in-your-face thrashburst anyway. The production is typical for modern thrash, just perfect in this case. Everything is clear yet true to the aggression driving the music. It reminds a bit of Overkill since the bass lines can be heard very well, which is of course a good thing, Riffs abound, obviously, since like I've said about twenty times already this is thrash and good thrash.

There isn't a weak point on the album except maybe the outro 'We're Coming Back' which is intended to be silly anyway. The whole album thrashes, chugs, never getting repetitive, which is an exploit for Tankard. Looks like they're aging well, like good beer... I mean wine. Hard to believe they can come up with so many good ideas at once after all these years.

So the bottom line is, this is better than anything else they've done, so you should of course get it immediately, unless you have a problem with thrash, beer, or both at once, in which case you should seek professional help.

Die With A Beer in Your Hand - 90%

DeathFog, July 13th, 2004

The year of 2004 has sparked the rebirth of many old famous thrashers of the past: Hirax, Exodus, Death Angel, Heathen. Tankard has never been dead and this is a no comeback album, because the preceding album was not a weak one. Beast of Bourbon Is Thrash to the bone: imagine B-Day played faster, heavier and more aggressively and there you go. Though variety has never been Tankard’s strong feature, this album has no lack in it.

Some general information about the album. Catchy songs and variety of material make this album stand out among the other releases by Tankard. Production on this album is clear with very intense bass. Every song has drive. Dominating tempo is fast. Lots of tempo changes and interesting rhythm patterns. Hardcore influence in this album is obvious. The song Alien revenge has a reference to their previous releases such as Chemical Invasion and Alien [EP].

Guitars sound is distorted and they are tuned lower then usual, typical for the new generation of Thrash Metal. There is no lack in riffs: here they are mostly killer and manage to change numerously in course of song. Riff in Dead Men Drinking reminds of Blitzkrieg - Blitzkrieg, riffs in the beginning of The Horde are industrialish, “Die With A Beer In Your Hand” can boast interesting riff changes in some places. Guitar work on “Endless Pleasure” is Maiden inspired. Riff tempos vary from slow to fast with the last dominating.

Solos on this album are very well executed, well structured and melodic. Melodies are skillfully woven here and there. For example, one guitar plays some riffs and the other one plays melody. Sometimes both guitars play the same melody (Judas Priest’s approach).

Bass on this album is also heavily distorted. Bass parts are rather complex and from time to time bass guitar plays solo parts. “The Horde” is lead by bass all the time. Bass tends to live its own life on the album.

Drumming here is insane: straight-in-the-face attitude backed by blastbeats and lightning fast tempos. Double bass is used. Just as everything on this album, drum work doesn’t lack variety.

Vocals. Gerre’s voice is rather high pitched and here he uses lots of singing manners and interesting vocal melodies/patterns: barking, wailing, screaming, sometimes almost raping. In definite parts, Gerre’s screams break down: that makes ‘em sound completely insane. On this album, he has done a good job, I think it is on the best he has ever done.

Lyrics deal with already classical themes of drinking, drugs, metal, some are socially oriented and of coarse, they do not lack touch of humor and sarcasm.

General atmosphere of the album is Thrash Till Death and Drink Till Death. Highly recommended for Thrashers.