Necrophobic – Dawn Of The Damned – Album Review

Artist: Necrophobic

Album Title: Dawn Of The Damned

Label: Century Media Records

Date of Release: 9 October 2020

Oh for the love of all that is evil, not again. How the devil did I let Necrophobic pass me by until now? I mean, HOW? I love blackened death metal, especially the kind that injects overt melody into the abrasive, aggressive tumult. And that’s exactly what Necrophobic bring here, on ‘Dawn Of The Damned’. And it isn’t as if this is their second or third record since recently forming. Oh, no. The Swedes have been around since 1989, when I could still count my age in single digits. What an utter, unmitigated cock-up on my part. I’m actually incredulous with myself right now, seriously contemplating my ‘Man Of Much Metal’ tag, and whether it should be replaced with ‘Idiot of Some Metal’.

Ok, enough of the self-flagellation, I have an album to review and what an album it is. Representing their ninth full-length studio release over the course of three decades, it is an album that has made an incredibly strong impact upon me. And, whilst I have no frame of reference to back me up, this record would also appear to more than ably demonstrate that the quintet have lost none of their hunger or bite over the years.

Mind you, the Necrophobic of 2020 is rather different than the late 80s Necrophobic, with only drummer Joakim Sterner remaining as an original member. He’s joined now, by guitarists Johan Bergebäck and Sebastian Ramstedt, vocalist Anders Strokirk, and newest recruit of all, bassist Allan Lundholm. Together, they create a formidable sound, one that I like very much indeed.

Opener ‘Aphelion’ gives little away at the outset. It is a typically dark and claustrophobic intro piece, full of orchestrated drama and malevolence. But despite the increasingly robust use of guitars on top of a haunting lead line, it doesn’t really prepare me for what’s to come during the next nine songs and forty-five minutes.

‘Darkness Be My Guide’ takes over and wastes literally no time in ripping me apart, thanks to an intense rhythmic battery and swift, sharp riffs. The feel is much more on the black side than death, but either way, it’s an aggressive affair, especially when the gravelly bark of Anders Strokirk joins the party. It’s good and has my attention, but it isn’t until the two minute mark when the magic really happens. You can suddenly hear the bass of Allan Lundholm come through during a brief respite before suddenly, we’re treated to a killer melody that has one foot in the 80s, inspired by the NWOBHM scene for sure. The lead guitar line that segues into a wailing solo is catchy and memorable, but completely in keeping with the overall dark tone of the music.

Necrophobic 2020 (left to right): Johan Bergebäck (rhythm guitars) Allan Lundholm (bass) Anders Strokirk (vocals) Joakim Sterner (drums) Sebastian Ramstedt (lead guitars)

A flash in the pan? It must be surely, because I can’t have missed a band of that calibre for so long, can I? But no, there’s no let up to my embarrassment or the quality of the music. ‘Mirror Black’ is next and after a creepy intro, it thunders from the speakers with an immediately arresting groove and accompanying melody led by a shrieking lead guitar line, before returning to all-out attack complete with fast but precise playing from all corners of the band. The riffs and leads are rapid, the drumming is frenetic, the bass is a rumbling blur of notes, but the musicianship remains intact, carrying the listener on the crest of a wave for the whole song, that reverts back to the opening groovy melody from time to time.

Speaking of groove, ‘Tartarian Winds’ is simply irresistible for that very reason; it rattles along at a fair pace, but has a lightness about it that I really like. It feels like it is skipping along, whilst tearing the righteous apart at the same time. Cool lead guitar playing enhances the track, a surprisingly melodic song that gets the head bobbing along in full appreciation.

The intro to ‘The Infernal Depths of Infinity’ is pure theatre, complete with Maiden-esque guitar-and-bass melody, tolling bells and the screams of tortured souls. At over seven minutes in length, it has more of an epic air to it, as well as the time and space to offer variety. The melodies remain but in general, they are slightly less pronounced, as the band explore a more atmospheric approach. It may be a song that takes longer to hit the mark, but thanks to a compelling and rousing final sequence, it soon becomes a winner for me.

If I’m being completely honest, I will admit to preferring the first half of the record more than the second. Mind you, thanks to cracking songs like ‘The Return Of A Long lost Soul’ and closing thrashy firecracker, ‘Devil’s Spawn Attack’ featuring Destruction’s Schmier nestled within, there’s not a lot in it in fairness.

I’m still shaking my head in disbelief, unable to comprehend just how I managed to let these guys fly under my radar for so long. Maybe I have to accept that my radar isn’t as finely-tuned as I thought it was, and accept my punishment. Or, I could instead be delighted that I have another hefty back catalogue of great music to explore. Yes, I’ll do that. In the meantime, I’m going to spin ‘Dawn Of The Damned’ once again, a truly great addition to the pantheon of blackened death metal.

The Score of Much Metal: 90%