Since forming in 1997, Germany's Primal Fear have become one of those dependable bands who can always be relied upon to deliver the goods. While the band are often seen as part of the power metal scene, in truth Primal Fear are just a good, old-fashioned heavy metal band - taking the sound forged in the early 1980s by bands like Judas Priest and Accept and turning it into a real mission statement. While this reliance on one sound does mean that all of the band's albums somewhat blend into one at times, it also means that their discography is enjoyable in a very back-to-basics way. Fans of the latest Judas Priest and Accept albums who want more of that kind of style can do a lot worse than checking out the fairly extensive Primal Fear catalogue - with their latest album Metal Commando being as good a place as any to dive in. Metal Commando is the band's thirteenth studio album, and is their first album since resigning with record label Nuclear Blast in 2018 - the label that released their first six albums between 1998 and 2005. In truth Nuclear Blast are a better home for a band like Primal Fear than Frontiers Records ever were; but the change to a more AOR-centric label back in the mid-2000s did not alter the band's sound one bit. The band have barely changed their sound since releasing their 1998 self-titled debut album, which is part of the reason why their latest album is a good starting point - despite it having one of the most generic titles and album covers in metal history. It follows hot on the heels of 2018's Apocalypse (which I reviewed here); a very solid album that I enjoyed a lot at the time of its release. As with most of the band's albums, Apocalypse contained a handful of stellar traditional metal songs - but in truth the whole album was very enjoyable. That description could really be applied to any of the band's albums, and it certainly applies to Metal Commando. Those familiar with the band certainly know what to expect going in, but I do feel that this new album may be slightly stronger than its predecessor. That is largely due to the production, which just seems to be a little bit bigger and ballsier this time around. A Primal Fear album has never sounded weak, but this one just sounds a bit fuller than the last one - which is certainly a good thing. The quality of the songwriting is probably on a par with the previous album, but the slightly better production helps to elevate the songs above the tunes that filled Apocalypse. Five of the six who worked on Apocalypse return for Metal Commando, although drummer Michael Ehré (Metalium; Firewind; Gamma Ray; The Unity) makes his debut with the band on this album having replaced Francesco Jovino last year.
The album gets underway with one of its singles, the epic-sounding I Am Alive. It is the band's more melodic and soaring numbers like this that encourage the power metal tag; but in truth the song is just good old-fashioned heavy metal with a bit more of a polished sheen. Despite the big melodies, the song is still packed full of crunchy moments. The band's three guitarists; Tom Naumann, Magnus Karlsson, and Alex Beyrodt; team up for a hard-hitting intro that mixes heavy power chords and melodic leads, while their harmony leads during the verses provide some Iron Maiden-esque melodies to counter frontman Ralf Scheepers' ageless vocals. Scheepers has always been the band's shining light and focal point and, while he does not contribute to this album anywhere near as much as he usually would from a songwriting perspective, he leads the charge admirably throughout. He sounds as good now as he did during the early 1990s when he was a member of Gamma Ray, and the song's chorus is a perfect example of his talents. He showcases some pretty high-pitched screams during the choruses, which are a great contrast to the grittier verses. Another single, Along Came the Devil, follows and it is a perfect example of the core Primal Fear sound. The slightly more polished sheen that was present during the opening number is largely replaced here by a tougher crunch throughout - and this is also reflected in Scheepers' vocal style. Those who like classic Accept will recognise their vocal hallmarks in Scheepers' delivery here, with a gritty rasp on display during the mid-paced verses; before a more anthemic approach is taken during the choruses. For me, it is the songs like this in the band's catalogue that really showcase Primal Fear at their best. Crunchy, mid-paced metal anthems with soaring choruses are what Primal Fear really excel at, and Along Came the Devil is likely to become a live favourite in the years to come. Halo sees the band pick up the pace somewhat, with Ehré's double bass drumming driving the song from the off while the guitarists lock together for a hooky harmony guitar lead. I am never sure why Primal Fear insist on having three guitarists, despite the fact that Karlsson rarely ever plays live with the band and his is never replaced by a session player, as they are a classic twin guitar heavy metal act. Having a third player does not add to the band's sound at all in my opinion, as the old-fashioned approach to harmony lead guitar playing here shows. Iron Maiden and, in particular, Thin Lizzy are being channelled here, with some folky-sounding melodies meshing perfectly with the hard-hitting rhythms coming from the rhythm section. The pace brings the power metal scene to mind, but the crunch keeps those Judas Priest and Accept comparisons relevant; ensuring the band stay close to their long-established formula.
Hear Me Calling, yet another single, slows things down again and goes for the mid-paced approach favoured by Along Came the Devil; but also injects a little bit of atmosphere. While I would not describe the song as a true ballad, the verses are certainly pretty low-key for a band like Primal Fear - with an atmospheric clean guitar backing and some pseudo-soulful vocals from Scheepers. Primal Fear are not the most dynamic of bands, but they do these moodier tracks well on the occasion that they choose to tackle them and the heavier chorus hits harder when the band launch into it as a result. It is not the strongest of the album's singles, but as a more dynamic song it works well - and it shows that Primal Fear are not always just about turning everything up to eleven. The Lost and the Forgotten is about elevens across the board however. It is one of the tracks that really stood out to me on my first listen to the album, and it remains one of my favourites even after multiple listens. It is another mid-paced crunching track, but the kinetic energy created throughout thanks to Ehré's punchy drumming and Mat Sinner's prominent, pulsing bassline really pushes it to the next level. It is one of those songs where everything falls into place. Scheepers turns in one of his best vocal performances of the album, mixing high-pitched screams and aggressive barks perfectly together when needed, and the guitarist riffing is also well-balanced - mixing crunchy riffs and soaring leads together. To me, this song would be a great introduction to Primal Fear's core sound as it perfectly captures everything that the band have been about over the years. My Name is Fear showcases the band's power metal side a little more, and at times the song recalls the guitar pyrotechnics of heavy power metal acts like Firewind. Primal Fear are certainly a 'meat and potatoes' type of band, and virtuoso displays are few are far between, but some of the guitar playing throughout this track is certainly a step up from usual. The song's intro in particular contains some knotty leads, while other parts of the track showcase the talents of new boy Ehré as he lays into his double bass drums with real venom. This is another song that would act as a great entry point for new fans, as it showcases the band's core sound while also displaying some impressive chops that Primal Fear seem to save for special occasions. I Will Be Gone is the album's ballad, and it sounds pretty different from everything else here. The metal is entirely stripped away here, with acoustic guitars and subtle keyboards instead backing Scheepers throughout. While his vocal performance is perhaps a bit over-the-top for an acoustic track, it nevertheless feels sincere and the track is very enjoyable as a result. Primal Fear have done songs like this in the past, but it is not a style that they tackle on each album. The highlight for me is the delicate classical guitar solo part way through the song. It is a very calming moment on what is otherwise a loud and hard-hitting album, and it certainly helps to provide something of a change of pace.
The album's last third is certainly no slouch compared to the strength of the material that has featured so far, but it does kick off with possible the most rote tune here - Raise Your Fists. So many metal bands have written songs called that, or something similar, over the years and metal bands singing about metal is pretty old hat now. It does not help that the song is pretty generic either, with a chugging rhythm and a chorus packed with some of the most cliché lyrics on the album. It is not a dreadful song, but it certainly stands out as one of the album's weaker moments due to the strength of many of the other songs here. I really wish bands would stop writing songs like this, as Manowar wrote enough back in the 1980s and 1990s to satisfy anyone's cravings for metal worship! Howl of the Banshee instantly sees the quality, and tempo, shoot back up again however with power metal-infused guitar riffing and some of Scheepers' best high-pitched vocals on the album. Like I Am Alive, this is a song that really showcases why the band are sometimes called a power metal act. The song's chorus is a real melodic treat, with hooks galore pouring out of the speakers - largely as a result of the strong vocal melodies. Primal Fear have been writing songs like this for years, but the formula does not seem to have grown stale yet. The band sound really fired up on this song, and in fact throughout the whole album, and it is partially that fact that makes it one of my favourite cuts here. Afterlife is similar, but with a whole lot more crunch. The soaring vocal melodies of the previous song are replaced with Scheepers' best Accept-esque approach which fit perfectly with the relentless riffing. This is a song that just never lets the energy drop throughout. It is one of the heaviest tunes here as a result and it is also one of the most intense - despite not being the fastest overall. Riff after riff are utilised here, and the use of gang vocals during the chorus, which is not a common tactic employed by the band, gives it some additional punch. The album comes to a close with the lengthy Infinity, a thirteen-plus minute epic that is the longest song the band have ever written. They have done a handful of long tracks in the past, but it is certainly not something that they approach regularly. Songs like Infinity however allow the band to stretch out a bit and showcase some more progressive influences, which largely works well. While I do think that the song could have been trimmed down a bit, on the whole it is very strong and dynamic - with lots of strong ideas thrown into the mix. The gentle intro works well, and takes the vibe established on I Will Be Gone and incorporates it into a song that uses it as a building block for heavier things. The atmospheric approach is returned to every so often, but largely Infinity is still a heavy song with a huge, anthemic chorus and some heroic lead guitar moments. Primal Fear are not a prog metal act, but these occasional longer epics showcase the band in a strong light, and Infinity certainly helps Metal Commando to finish on a high - with a surprisingly impressive piano-led orchestral section that leads into a final reprise of the song's chorus. Overall, Metal Commando is another strong release from Primal Fear that does not really add anything new to their discography but provides another hour or so of strong old-fashioned heavy metal for their fans to enjoy. It is certainly more of the same, but it is well-written, well-produced, and very enjoyable; with their fans the world over sure to the satisfied with it.
The album was released on 24th July 2020 via Nuclear Blast Records. Below is the band's promotional video for I Am Alive.
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