#dokken — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #dokken, aggregated by home.social.
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Breaking the Chains was one of the very first records I bought when I was young. I had at most 5 records at that time and before going to college I gave them away thinking records were going to become obsolete. I now have multiple copies.
Artist: Dokken
Album: Breaking the Chains (1983)
Release: 2020 Limited Edition Remaster
Region: US
Label: Friday Music - FMLP370 -
Rest in peace, Dokken.
You were delightfully whimsical and silly. You were full of love and affection for anyone and everyone whose attention you captured. And you captured attention so effortlessly.
And for what it's worth, you were so incredibly well behaved, passing your Canine Good Citizen exam when you were just one year old.You brought so much joy to so many peoples' lives. You made such good friends with so many other dogs. Hell, you even made friends with a cat for a few weeks while her human watched you and our house.
As excruciatingly painful as this all is, it warms my heart that you had eleven of our friends come over this past weekend to light a candle for you. And three more friends came by to comfort us and remember you the previous weekend right after you took your last breaths surrounded by our deepest love and gratitude.
I love you. I miss you. I'm so sorry we didn't have more time together but I thank you for more than thirteen years of being nothing short of the perfect dog.
#dokken #dog #dogsofmastodon #tamaskan #tamaskandog #tamaskan_dog #memorial
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Ambush – Evil in All Dimensions Review
By Steel Druhm
Back in the Year of the Great Plague, Sweden’s Ambush ambuscaded me with Infidel, knocking my noggin with an electrified baseball bat of 80s metal nostalgia. It hit that sweet 1981-1984 classic heavy metal spot so hard, it almost created a time vortex that allowed me to bail on COVID and drink shitty beers and Tango with my ne’er-do-well teenage self. Infidel sounded like a perfect fusion of Dokken, Europe, Accept, and the early Ozzy solo stuff, and that shit sells itself to geezers like me. Album high point, “Hellbiter” is one of my favorite metal tunes of the last 10 years, and I still spin it regularly.1 I’ve been patiently waiting for the follow-up for what seems like an eternity, and now we finally get Evil in all Dimensions. Can their fourth release deliver half as much unfiltered 80s glory as its predecessor? Let’s measure these dimensions!
Ambush go for the throat on the opening title track, and it’s a glorious mash-up of 80s metal and Euro-power. It’s high-energy, speedy, and full of top-flight guitar work as Oskar Jacobsson showcases his Don Dokken-meets-Joey Tempest vocal magic in all dimensions. The chorus is weirdly addictive, and the whole thing is just pure metal excess in the vein of Manimal. It will also remind you why you like metal in the first place, and that’s just awesome. Then the really BIG stuff hits with “Maskirovka.” It’s a righteous throwback gem that sounds like Iron Maiden wrote an enormous anthem for Europe. There’s a huge dramatic gallop, manly riffs, and Jacobsson’s laser-like voice piercing through everything. It’s a song you hear once and fall in love with, and it’s on a collision course with my Song o’ the Year trophy. But wait, there’s MOAR. “Iron Sign” sounds like a long-lost cut from Cities’ stellar 1986 Annihilation Absolute opus, and the riff-work here is relentlessly awesome.2
The hits keep on coming, with “The Reaper” going so old school, it almost leaves the 80s entirely to visit the early Rainbow days for a stadium-shaking retro-raging beast you couldn’t kill with 10,000 steely knives. The guitars are so slick and tasty here, you’ll never want them to stop noodling. “Bending the Steel” brings the unstoppable riffage of early Grave Digger to the battle and shells your brain until you scream for more. Things leave on a high note with “Heavy Metal Brethren,” which is another high-octane burner purpose-built to rock your skull bones. Are there stumbles? I suppose power ballad “I Fear the Blood” is less thrilling than its peers, but it serves its purpose by changing the tempo and giving you a breather. “Come Angel of Night” is frantic fun but a touch less hook-tastic; but otherwise, I have no complaints. When the album’s 40 minutes expire, you’ll wish there was more, and with every song in the 4-5 minute window, the writing is sharp and designed to sink hooks and depart. This is what makes Ambush such a throwback pleasure. They know their game, play it hard, and flee into the night, leaving you spent, sweaty, and satisfied. That’s metal, folks.
I’m a big fan of Oskar Jacobsson’s vocals. The guy has golden pipes and that kind of crisp, clear voice you might not associate with metal, but boy does it work when backed with beefy riffs. He’s improved since Infidel, offering different deliveries and greater versatility. He owns the material completely and elevates everything to the next level. Olof Engkvist and new fretbeast Karl Dotzek do NOT fuck around, swinging for the fences with reckless and wild shredding and tight, crunchy leads that amplify each song. There’s more than a little Accept and Judas Priest worship in their heroic playing, but they borrow from many a great 80s act along the way and make sure the air guitar muscles get a real workout. They know how to conjure the spirits of the golden age of metal more than most bands, and they work their necromancy hard.
Ambush have the Kavorka, and use their animal magnetism to lure you to the slaughter.3 Evil in All Dimensions is a very worthy sequel to Infidel with several cuts that will be among the best old school things you’ll hear this year. They’re one of the most entertaining metal bands going, and it’s impossible to listen to this and not get a jolt of energy. You need this sweet molten magic in your veins, so go get yourself Ambushed.
Rating: 3.5/5.0
DR: NA | Format Reviewed: An everflowing STREAM of ass
Label: Napalm
Websites: facebook.com/ambushsweden | instagram.com/ambushsweden
Releases Worldwide: September 5th, 2024#2025 #35 #Ambush #Dokken #Europe #EvilInAllDimensions #HeavyMetal #Infidel #JudasPriest #Manimal #NapalmRecords #Review #Reviews #Sep25 #SwedishMetal
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Ambush – Evil in All Dimensions Review
By Steel Druhm
Back in the Year of the Great Plague, Sweden’s Ambush ambuscaded me with Infidel, knocking my noggin with an electrified baseball bat of 80s metal nostalgia. It hit that sweet 1981-1984 classic heavy metal spot so hard, it almost created a time vortex that allowed me to bail on COVID and drink shitty beers and Tango with my ne’er-do-well teenage self. Infidel sounded like a perfect fusion of Dokken, Europe, Accept, and the early Ozzy solo stuff, and that shit sells itself to geezers like me. Album high point, “Hellbiter” is one of my favorite metal tunes of the last 10 years, and I still spin it regularly.1 I’ve been patiently waiting for the follow-up for what seems like an eternity, and now we finally get Evil in all Dimensions. Can their fourth release deliver half as much unfiltered 80s glory as its predecessor? Let’s measure these dimensions!
Ambush go for the throat on the opening title track, and it’s a glorious mash-up of 80s metal and Euro-power. It’s high-energy, speedy, and full of top-flight guitar work as Oskar Jacobsson showcases his Don Dokken-meets-Joey Tempest vocal magic in all dimensions. The chorus is weirdly addictive, and the whole thing is just pure metal excess in the vein of Manimal. It will also remind you why you like metal in the first place, and that’s just awesome. Then the really BIG stuff hits with “Maskirovka.” It’s a righteous throwback gem that sounds like Iron Maiden wrote an enormous anthem for Europe. There’s a huge dramatic gallop, manly riffs, and Jacobsson’s laser-like voice piercing through everything. It’s a song you hear once and fall in love with, and it’s on a collision course with my Song o’ the Year trophy. But wait, there’s MOAR. “Iron Sign” sounds like a long-lost cut from Cities’ stellar 1986 Annihilation Absolute opus, and the riff-work here is relentlessly awesome.2
The hits keep on coming, with “The Reaper” going so old school, it almost leaves the 80s entirely to visit the early Rainbow days for a stadium-shaking retro-raging beast you couldn’t kill with 10,000 steely knives. The guitars are so slick and tasty here, you’ll never want them to stop noodling. “Bending the Steel” brings the unstoppable riffage of early Grave Digger to the battle and shells your brain until you scream for more. Things leave on a high note with “Heavy Metal Brethren,” which is another high-octane burner purpose-built to rock your skull bones. Are there stumbles? I suppose power ballad “I Fear the Blood” is less thrilling than its peers, but it serves its purpose by changing the tempo and giving you a breather. “Come Angel of Night” is frantic fun but a touch less hook-tastic; but otherwise, I have no complaints. When the album’s 40 minutes expire, you’ll wish there was more, and with every song in the 4-5 minute window, the writing is sharp and designed to sink hooks and depart. This is what makes Ambush such a throwback pleasure. They know their game, play it hard, and flee into the night, leaving you spent, sweaty, and satisfied. That’s metal, folks.
I’m a big fan of Oskar Jacobsson’s vocals. The guy has golden pipes and that kind of crisp, clear voice you might not associate with metal, but boy does it work when backed with beefy riffs. He’s improved since Infidel, offering different deliveries and greater versatility. He owns the material completely and elevates everything to the next level. Olof Engkvist and new fretbeast Karl Dotzek do NOT fuck around, swinging for the fences with reckless and wild shredding and tight, crunchy leads that amplify each song. There’s more than a little Accept and Judas Priest worship in their heroic playing, but they borrow from many a great 80s act along the way and make sure the air guitar muscles get a real workout. They know how to conjure the spirits of the golden age of metal more than most bands, and they work their necromancy hard.
Ambush have the Kavorka, and use their animal magnetism to lure you to the slaughter.3 Evil in All Dimensions is a very worthy sequel to Infidel with several cuts that will be among the best old school things you’ll hear this year. They’re one of the most entertaining metal bands going, and it’s impossible to listen to this and not get a jolt of energy. You need this sweet molten magic in your veins, so go get yourself Ambushed.
Rating: 3.5/5.0
DR: NA | Format Reviewed: An everflowing STREAM of ass
Label: Napalm
Websites: facebook.com/ambushsweden | instagram.com/ambushsweden
Releases Worldwide: September 5th, 2024#2025 #35 #Ambush #Dokken #Europe #EvilInAllDimensions #HeavyMetal #Infidel #JudasPriest #Manimal #NapalmRecords #Review #Reviews #Sep25 #SwedishMetal
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Ambush – Evil in All Dimensions Review
By Steel Druhm
Back in the Year of the Great Plague, Sweden’s Ambush ambuscaded me with Infidel, knocking my noggin with an electrified baseball bat of 80s metal nostalgia. It hit that sweet 1981-1984 classic heavy metal spot so hard, it almost created a time vortex that allowed me to bail on COVID and drink shitty beers and Tango with my ne’er-do-well teenage self. Infidel sounded like a perfect fusion of Dokken, Europe, Accept, and the early Ozzy solo stuff, and that shit sells itself to geezers like me. Album high point, “Hellbiter” is one of my favorite metal tunes of the last 10 years, and I still spin it regularly.1 I’ve been patiently waiting for the follow-up for what seems like an eternity, and now we finally get Evil in all Dimensions. Can their fourth release deliver half as much unfiltered 80s glory as its predecessor? Let’s measure these dimensions!
Ambush go for the throat on the opening title track, and it’s a glorious mash-up of 80s metal and Euro-power. It’s high-energy, speedy, and full of top-flight guitar work as Oskar Jacobsson showcases his Don Dokken-meets-Joey Tempest vocal magic in all dimensions. The chorus is weirdly addictive, and the whole thing is just pure metal excess in the vein of Manimal. It will also remind you why you like metal in the first place, and that’s just awesome. Then the really BIG stuff hits with “Maskirovka.” It’s a righteous throwback gem that sounds like Iron Maiden wrote an enormous anthem for Europe. There’s a huge dramatic gallop, manly riffs, and Jacobsson’s laser-like voice piercing through everything. It’s a song you hear once and fall in love with, and it’s on a collision course with my Song o’ the Year trophy. But wait, there’s MOAR. “Iron Sign” sounds like a long-lost cut from Cities’ stellar 1986 Annihilation Absolute opus, and the riff-work here is relentlessly awesome.2
The hits keep on coming, with “The Reaper” going so old school, it almost leaves the 80s entirely to visit the early Rainbow days for a stadium-shaking retro-raging beast you couldn’t kill with 10,000 steely knives. The guitars are so slick and tasty here, you’ll never want them to stop noodling. “Bending the Steel” brings the unstoppable riffage of early Grave Digger to the battle and shells your brain until you scream for more. Things leave on a high note with “Heavy Metal Brethren,” which is another high-octane burner purpose-built to rock your skull bones. Are there stumbles? I suppose power ballad “I Fear the Blood” is less thrilling than its peers, but it serves its purpose by changing the tempo and giving you a breather. “Come Angel of Night” is frantic fun but a touch less hook-tastic; but otherwise, I have no complaints. When the album’s 40 minutes expire, you’ll wish there was more, and with every song in the 4-5 minute window, the writing is sharp and designed to sink hooks and depart. This is what makes Ambush such a throwback pleasure. They know their game, play it hard, and flee into the night, leaving you spent, sweaty, and satisfied. That’s metal, folks.
I’m a big fan of Oskar Jacobsson’s vocals. The guy has golden pipes and that kind of crisp, clear voice you might not associate with metal, but boy does it work when backed with beefy riffs. He’s improved since Infidel, offering different deliveries and greater versatility. He owns the material completely and elevates everything to the next level. Olof Engkvist and new fretbeast Karl Dotzek do NOT fuck around, swinging for the fences with reckless and wild shredding and tight, crunchy leads that amplify each song. There’s more than a little Accept and Judas Priest worship in their heroic playing, but they borrow from many a great 80s act along the way and make sure the air guitar muscles get a real workout. They know how to conjure the spirits of the golden age of metal more than most bands, and they work their necromancy hard.
Ambush have the Kavorka, and use their animal magnetism to lure you to the slaughter.3 Evil in All Dimensions is a very worthy sequel to Infidel with several cuts that will be among the best old school things you’ll hear this year. They’re one of the most entertaining metal bands going, and it’s impossible to listen to this and not get a jolt of energy. You need this sweet molten magic in your veins, so go get yourself Ambushed.
Rating: 3.5/5.0
DR: NA | Format Reviewed: An everflowing STREAM of ass
Label: Napalm
Websites: facebook.com/ambushsweden | instagram.com/ambushsweden
Releases Worldwide: September 5th, 2024#2025 #35 #Ambush #Dokken #Europe #EvilInAllDimensions #HeavyMetal #Infidel #JudasPriest #Manimal #NapalmRecords #Review #Reviews #Sep25 #SwedishMetal
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Ambush – Evil in All Dimensions Review
By Steel Druhm
Back in the Year of the Great Plague, Sweden’s Ambush ambuscaded me with Infidel, knocking my noggin with an electrified baseball bat of 80s metal nostalgia. It hit that sweet 1981-1984 classic heavy metal spot so hard, it almost created a time vortex that allowed me to bail on COVID and drink shitty beers and Tango with my ne’er-do-well teenage self. Infidel sounded like a perfect fusion of Dokken, Europe, Accept, and the early Ozzy solo stuff, and that shit sells itself to geezers like me. Album high point, “Hellbiter” is one of my favorite metal tunes of the last 10 years, and I still spin it regularly.1 I’ve been patiently waiting for the follow-up for what seems like an eternity, and now we finally get Evil in all Dimensions. Can their fourth release deliver half as much unfiltered 80s glory as its predecessor? Let’s measure these dimensions!
Ambush go for the throat on the opening title track, and it’s a glorious mash-up of 80s metal and Euro-power. It’s high-energy, speedy, and full of top-flight guitar work as Oskar Jacobsson showcases his Don Dokken-meets-Joey Tempest vocal magic in all dimensions. The chorus is weirdly addictive, and the whole thing is just pure metal excess in the vein of Manimal. It will also remind you why you like metal in the first place, and that’s just awesome. Then the really BIG stuff hits with “Maskirovka.” It’s a righteous throwback gem that sounds like Iron Maiden wrote an enormous anthem for Europe. There’s a huge dramatic gallop, manly riffs, and Jacobsson’s laser-like voice piercing through everything. It’s a song you hear once and fall in love with, and it’s on a collision course with my Song o’ the Year trophy. But wait, there’s MOAR. “Iron Sign” sounds like a long-lost cut from Cities’ stellar 1986 Annihilation Absolute opus, and the riff-work here is relentlessly awesome.2
The hits keep on coming, with “The Reaper” going so old school, it almost leaves the 80s entirely to visit the early Rainbow days for a stadium-shaking retro-raging beast you couldn’t kill with 10,000 steely knives. The guitars are so slick and tasty here, you’ll never want them to stop noodling. “Bending the Steel” brings the unstoppable riffage of early Grave Digger to the battle and shells your brain until you scream for more. Things leave on a high note with “Heavy Metal Brethren,” which is another high-octane burner purpose-built to rock your skull bones. Are there stumbles? I suppose power ballad “I Fear the Blood” is less thrilling than its peers, but it serves its purpose by changing the tempo and giving you a breather. “Come Angel of Night” is frantic fun but a touch less hook-tastic; but otherwise, I have no complaints. When the album’s 40 minutes expire, you’ll wish there was more, and with every song in the 4-5 minute window, the writing is sharp and designed to sink hooks and depart. This is what makes Ambush such a throwback pleasure. They know their game, play it hard, and flee into the night, leaving you spent, sweaty, and satisfied. That’s metal, folks.
I’m a big fan of Oskar Jacobsson’s vocals. The guy has golden pipes and that kind of crisp, clear voice you might not associate with metal, but boy does it work when backed with beefy riffs. He’s improved since Infidel, offering different deliveries and greater versatility. He owns the material completely and elevates everything to the next level. Olof Engkvist and new fretbeast Karl Dotzek do NOT fuck around, swinging for the fences with reckless and wild shredding and tight, crunchy leads that amplify each song. There’s more than a little Accept and Judas Priest worship in their heroic playing, but they borrow from many a great 80s act along the way and make sure the air guitar muscles get a real workout. They know how to conjure the spirits of the golden age of metal more than most bands, and they work their necromancy hard.
Ambush have the Kavorka, and use their animal magnetism to lure you to the slaughter.3 Evil in All Dimensions is a very worthy sequel to Infidel with several cuts that will be among the best old school things you’ll hear this year. They’re one of the most entertaining metal bands going, and it’s impossible to listen to this and not get a jolt of energy. You need this sweet molten magic in your veins, so go get yourself Ambushed.
Rating: 3.5/5.0
DR: NA | Format Reviewed: An everflowing STREAM of ass
Label: Napalm
Websites: facebook.com/ambushsweden | instagram.com/ambushsweden
Releases Worldwide: September 5th, 2024#2025 #35 #Ambush #Dokken #Europe #EvilInAllDimensions #HeavyMetal #Infidel #JudasPriest #Manimal #NapalmRecords #Review #Reviews #Sep25 #SwedishMetal
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I’m not very familiar with Dokken’s albums released after Beast from the East (1988) and Don Dokken’s Up from the Ashes (1990). The guitar work here sometimes sounds very similar to George Lynch—though I’m not sure if that’s intentional. The overall feel is a lot mellower than in their heyday.
Artist: Dokken
Album: Broken Bones (2012)
Release: 2025 Record Store Day UK Reissue
Region: Europe
Label: Silver Lining Music – SLM095P55 -
I really need to change my guitar strings more than once every few years. Stratocasters deserve to sound great, and since I took the 15-20 mins to do it, I ended up playing for a few hours today!
Made some progress learning In My Dreams by Dokken. I named my older dog after the band, I might as well figure out at least one of their songs. That solo is gonna take some damn WORK though, damn.
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This is the new RSD reissue of Dokken's excellent 1988 live album.
Artist: Dokken
Album: Beast from the East (1988)
Release: 2025 Record Store Day reissue
Region: Worldwide
Label: BMG – 964043551 -
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Today In Metal History 🤘 September 18th, 2024🤘
CORONER, TWISTED SISTER, JIMI HENDRIX, BLACK SABBATH, KISS, DOKKEN, XENTRIX#JimiHendrix #BlackSabbath #KISS #TwistedSister #Coroner #Dokken #Xentrix
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🎉 Hoy celebramos los 40 años de Tooth and Nail, el icónico álbum de Dokken que marcó una época en el hard rock. Este disco no solo catapultó a la banda al estrellato, sino que también dejó una huella duradera en el género.
Para conmemorar este aniversario, te invitamos a leer nuestra reseña completa en la web. ¡Revive la magia del álbum con nosotros! 👉 https://acortar.link/uflPoQ
#Dokken #ToothAndNail #HardRock #Aniversario #ReseñaRockaxis #Rockaxis
🐦🔗 https://farside.link/x.com/rockaxisoficial/status/1835081886814683432#m
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By Steel Druhm
India’s Kryptos have been rocking an entertaining retro metal formula for several albums now, fusing classic metal sounds with slight black and thrash edges. Platters like Burn Up the Night and Afterburner are nigh-irresistible rocket rides of gleaming chrome, black leather, and glistening steel, delivering more fun than a barrel full of hobo wine and wiffle bats. 2021s Force of Danger was a bit of a step down in overall fun factor, with too much mid-paced chugging, though it had several big moments to endear it to fans of their schtick. Now comes 7th album Decimator and there’s a new page or two in the Kryptos cookbook. They still sound like someone forced Coroner’s Ron Royce into vocal duty for 80s Accept and they still aim to rock you like a Kryptocane, but there’s a greater emphasis on melodic guitar-play this time out. That means riffy, rowdy, hard rock-infused metal anthems made for the stadium circuit and that’s not a bad place to re-position the Kryptos persona. But does the pure metal fire still burn brightly on Decimator or is their throwback fetish beginning to show its age?
I’ll say this for these chaps, they don’t go in for faff or fluff. They come right at you on opener “Sirens of Steel” with all guns blazing and engines in overdrive. It’s exactly the kind of tune you want from them, full of galloping riffs and soaring guitar flourishes as Nolan Lewis croaks and snarls like a rabid hedgehog that just humped your prize petunias. Lewis and lead axe Rohit Chaturvedi bring the best thunder from the Tundra with guitar heroics ripped out of the 80s so hard that the air reeks of the Reagan Administration and cheap gasoline. You simply can’t hear this song and be in a sour mood, no matter how trve and kvlt you pretend to be. “Fall to the Spectre’s Gaze” is the same gumbo but with spicier okra. Once again Lewis and Chaturvedi rob the graves of Dokken, Keel, Cities, and Accept for inspiration and rock your socks way off in the process. And that chorus is the chef’s kiss. “Electrify” is an album standout due to its fist-pumping, teen-rager energy and raucous charm. It makes you want to race from destination to destination chugging cheap beers with idiot friends til you can race no more. Elsewhere, the title track sounds like underappreciated Canadian thrashers of yore, Sacrifice, reminding me that Lewis’s vocals are not far removed from those of Rob Urbinati.
Other big winners include “In the Shadow of the Blade” which lashes you with uber-polished but blood-pumping riffs and offers a slightly heavier vibe approaching the lighter side of Kreator. If you play this in your vehicle you will almost certainly break the speed limit by unsafe margins. “Pathfinder” also offers an orgy of greasy guitars and a pugnacious attitude that sticks in your head. There are no bad songs here, though one or two hit a bit less forcefully. At a very lean 31-plus minutes, there’s not much here but muscle and skin. There’s a short interlude, but other than that, this is all alloy, rebar, and concrete and it goes by fast and easy.
With what Kryptos do, the guitar work has to be aces or the whole construct comes crashing down. Luckily Lewis and Chaturvedi know their roles and deliver a fuck-ton of blazing six-string glory. They absolutely nail the 80s metal ethos and sound and at any moment they remind me of several albums I worshipped as teenage metal mouthbreather. The infusion of more melodic fretwork is a boon, and though I wish they would delve deeper into speed and thrash at times, I love what they do across Decimator. Lewis is extremely limited as a vocalist, with a one-note ragged snarl that varies little from moment to moment, but somehow it fits and never seems to undersell the material. Vijit Singh pounds away on the kit manfully, providing a booming backdrop for the guitars, and Robin Utbult (Vicious Rumors, ex-Air Raid) guests as bassist, offering a workmanlike performance, rarely injecting himself forcefully into the fray.
Decimator is a comeback of sorts for Kryptos, moving them closer to killer albums like Afterburner. This is the kind of record you put on, bang your head to, and feel surprised when it ends and you realize you just lost 30-plus minutes. It’s not intellectual, innovative, or forward-thinking, but it will activate your dental plan as it forces a good time on your gloomy ass. In these days of stress and strife, we all need things like this. My advice: blast this thing as loud as humanly possible and let it take to Air Guitar Old School. I’ll be there selling smokes, test results, and discount wedgies. Ask for the Powerlord.
Rating: 3.5/5.0
DR: 11 | Format Reviewed: 320 kbps mp3
Label: AFM
Websites: kryptosindia.bandcamp.com/album/decimator | facebook.com/kryptosindia | instagram.com/kryptosindia
Releases Worldwide: July 5th, 2024Maddog
Screenshot
Along with Satan’s Hallow’s fantastic debut/swansong, Kryptos’ Afterburner rekindled my love of traditional heavy metal. Granting my lifelong wish of experiencing the 1980s firsthand, Kryptos whisked me along for a midnight motorcycle joyride. Afterburner did nothing that hadn’t been overdone before, but its command of thrilling riffs made me an immediate devotee. However, Kryptos’ 2021 follow-up Force of Danger lacked danger, settling into a mid-paced routine that left me satisfied but wanting. Decimator sees India’s rockstar darlings step into more melodic territory while ratcheting up the energy. Although hints of Force of Danger’s missteps remain, Decimator marks a triumphant new direction for Kryptos.
Decimator targets thrill seekers, headbangers, and foot tappers alike. Blending Priest circa 1980 with Priest circa 1990, Kryptos are hell-bent for leather. Speedier anthems channel the relentless fun of Motörhead (“Sirens of Steel”), while slower chugfests show Kryptos living after midnight. The biggest change in Kryptos’ sound is the band’s newfound melodic touch. Guitar wizards Rohit Chaturvedi (lead) and Nolan Lewis (rhythm) never stop riffing for a moment, but Decimator’s soaring leads and 110-on-the-freeway solos add a brand new dimension. Vijit Singh’s drums move in lockstep, while Robin Utbult’s bass melodies channel a young Steve Harris without the gallops, adding depth when the guitars take a breather. Lewis’ roaring vocals, spinning innovative tales about late-night drives and neon lights and perseverance and stuff, add an extreme metal energy that keeps Kryptos sounding modern. Decimator provides fodder for adrenaline junkies of all stripes.
As always, Kryptos’ greatest strength is their blazing riffwork. Kryptos’ speedier cuts on their earlier albums had hit me hard, and Decimator follows suit. “Sirens of Steel” opens the album with remorseless violence, while the title track’s frantic opening gives way to a touch of evil. Songs like “Electrify,” the “Mach Speed Running” of Decimator, rank among Kryptos’ best work with their magical blend of simplicity and sheer power. On the other hand, Decimator’s slower tracks are hit-or-miss. “Turn up the Heat” crushes me with a thumping bass line and a main theme that’s mid-paced but ferocious, mirroring Afterburner’s “Red Dawn.”1 However, the album’s closers “Pathfinder” and “We Are the Night” fall short of delivering the same goods, with sluggish ideas that lose my attention. More generally, Decimator’s second half seems to run out of ideas, with riffs that sound fun but uncannily familiar. Decimator is powerful, but it loses some steam despite its concise 31-minute runtime.
Decimator’s mastery of melody raises Kryptos to new heights. Stratospheric leads permeate each song, providing gorgeous backing that unexpectedly evokes Jess and the Ancient Ones (“Electrify”). But Decimator hits hardest when the melodies take the reins. “Fall to the Spectre’s Gaze” vies for Song o’ the Year through a divine guitar solo with a divine lead-in. Five tracks later, “In the Shadow of the Blade” miraculously pushes in front with solo work that summons the intensity of Painkiller. Each of these highlights shines through Decimator’s rich production job. When I listen to Decimator, I feel like I’m lodged in between the guitar strings, and mere inches from the bass. Every reverberation of every string bleeds through both melodic bonanzas like “Fall to the Spectre’s Gaze” and riff-fests like “Electrify.” Every guitar solo feels like a personalized jam, complete with thoughtful foreshadowing from Kryptos’ riffs. With tunes this powerful, Decimator is unstoppable.
While Decimator fizzles out near its end, it’s exhilarating nonetheless. Kryptos has yet to fully overcome the lethargic chugs that plagued Force of Danger, and Decimator struggles with repetition. Even so, every listen through the album feels like sprinting a marathon. Even more impressively, Decimator levels up Kryptos’ sound through both its supersonic guitar leads and its striking production. Sometimes you don’t need to reinvent the wheel. You just need to burn rubber.
Rating: 3.5/5.0
#2024 #35 #Accept #AFMRecords #Afterburner #BurnUpTheNight #Cities #Decimator #Dokken #ForceOfDanger #HeavyMetal #IndianMetal #JudasPriest #Kreator #Kryptos #Motörhead #Review #Reviews #Sacrifice
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By Steel Druhm
India’s Kryptos have been rocking an entertaining retro metal formula for several albums now, fusing classic metal sounds with slight black and thrash edges. Platters like Burn Up the Night and Afterburner are nigh-irresistible rocket rides of gleaming chrome, black leather, and glistening steel, delivering more fun than a barrel full of hobo wine and wiffle bats. 2021s Force of Danger was a bit of a step down in overall fun factor, with too much mid-paced chugging, though it had several big moments to endear it to fans of their schtick. Now comes 7th album Decimator and there’s a new page or two in the Kryptos cookbook. They still sound like someone forced Coroner’s Ron Royce into vocal duty for 80s Accept and they still aim to rock you like a Kryptocane, but there’s a greater emphasis on melodic guitar-play this time out. That means riffy, rowdy, hard rock-infused metal anthems made for the stadium circuit and that’s not a bad place to re-position the Kryptos persona. But does the pure metal fire still burn brightly on Decimator or is their throwback fetish beginning to show its age?
I’ll say this for these chaps, they don’t go in for faff or fluff. They come right at you on opener “Sirens of Steel” with all guns blazing and engines in overdrive. It’s exactly the kind of tune you want from them, full of galloping riffs and soaring guitar flourishes as Nolan Lewis croaks and snarls like a rabid hedgehog that just humped your prize petunias. Lewis and lead axe Rohit Chaturvedi bring the best thunder from the Tundra with guitar heroics ripped out of the 80s so hard that the air reeks of the Reagan Administration and cheap gasoline. You simply can’t hear this song and be in a sour mood, no matter how trve and kvlt you pretend to be. “Fall to the Spectre’s Gaze” is the same gumbo but with spicier okra. Once again Lewis and Chaturvedi rob the graves of Dokken, Keel, Cities, and Accept for inspiration and rock your socks way off in the process. And that chorus is the chef’s kiss. “Electrify” is an album standout due to its fist-pumping, teen-rager energy and raucous charm. It makes you want to race from destination to destination chugging cheap beers with idiot friends til you can race no more. Elsewhere, the title track sounds like underappreciated Canadian thrashers of yore, Sacrifice, reminding me that Lewis’s vocals are not far removed from those of Rob Urbinati.
Other big winners include “In the Shadow of the Blade” which lashes you with uber-polished but blood-pumping riffs and offers a slightly heavier vibe approaching the lighter side of Kreator. If you play this in your vehicle you will almost certainly break the speed limit by unsafe margins. “Pathfinder” also offers an orgy of greasy guitars and a pugnacious attitude that sticks in your head. There are no bad songs here, though one or two hit a bit less forcefully. At a very lean 31-plus minutes, there’s not much here but muscle and skin. There’s a short interlude, but other than that, this is all alloy, rebar, and concrete and it goes by fast and easy.
With what Kryptos do, the guitar work has to be aces or the whole construct comes crashing down. Luckily Lewis and Chaturvedi know their roles and deliver a fuck-ton of blazing six-string glory. They absolutely nail the 80s metal ethos and sound and at any moment they remind me of several albums I worshipped as teenage metal mouthbreather. The infusion of more melodic fretwork is a boon, and though I wish they would delve deeper into speed and thrash at times, I love what they do across Decimator. Lewis is extremely limited as a vocalist, with a one-note ragged snarl that varies little from moment to moment, but somehow it fits and never seems to undersell the material. Vijit Singh pounds away on the kit manfully, providing a booming backdrop for the guitars, and Robin Utbult (Vicious Rumors, ex-Air Raid) guests as bassist, offering a workmanlike performance, rarely injecting himself forcefully into the fray.
Decimator is a comeback of sorts for Kryptos, moving them closer to killer albums like Afterburner. This is the kind of record you put on, bang your head to, and feel surprised when it ends and you realize you just lost 30-plus minutes. It’s not intellectual, innovative, or forward-thinking, but it will activate your dental plan as it forces a good time on your gloomy ass. In these days of stress and strife, we all need things like this. My advice: blast this thing as loud as humanly possible and let it take to Air Guitar Old School. I’ll be there selling smokes, test results, and discount wedgies. Ask for the Powerlord.
Rating: 3.5/5.0
DR: 11 | Format Reviewed: 320 kbps mp3
Label: AFM
Websites: kryptosindia.bandcamp.com/album/decimator | facebook.com/kryptosindia | instagram.com/kryptosindia
Releases Worldwide: July 5th, 2024Maddog
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Along with Satan’s Hallow’s fantastic debut/swansong, Kryptos’ Afterburner rekindled my love of traditional heavy metal. Granting my lifelong wish of experiencing the 1980s firsthand, Kryptos whisked me along for a midnight motorcycle joyride. Afterburner did nothing that hadn’t been overdone before, but its command of thrilling riffs made me an immediate devotee. However, Kryptos’ 2021 follow-up Force of Danger lacked danger, settling into a mid-paced routine that left me satisfied but wanting. Decimator sees India’s rockstar darlings step into more melodic territory while ratcheting up the energy. Although hints of Force of Danger’s missteps remain, Decimator marks a triumphant new direction for Kryptos.
Decimator targets thrill seekers, headbangers, and foot tappers alike. Blending Priest circa 1980 with Priest circa 1990, Kryptos are hell-bent for leather. Speedier anthems channel the relentless fun of Motörhead (“Sirens of Steel”), while slower chugfests show Kryptos living after midnight. The biggest change in Kryptos’ sound is the band’s newfound melodic touch. Guitar wizards Rohit Chaturvedi (lead) and Nolan Lewis (rhythm) never stop riffing for a moment, but Decimator’s soaring leads and 110-on-the-freeway solos add a brand new dimension. Vijit Singh’s drums move in lockstep, while Robin Utbult’s bass melodies channel a young Steve Harris without the gallops, adding depth when the guitars take a breather. Lewis’ roaring vocals, spinning innovative tales about late-night drives and neon lights and perseverance and stuff, add an extreme metal energy that keeps Kryptos sounding modern. Decimator provides fodder for adrenaline junkies of all stripes.
As always, Kryptos’ greatest strength is their blazing riffwork. Kryptos’ speedier cuts on their earlier albums had hit me hard, and Decimator follows suit. “Sirens of Steel” opens the album with remorseless violence, while the title track’s frantic opening gives way to a touch of evil. Songs like “Electrify,” the “Mach Speed Running” of Decimator, rank among Kryptos’ best work with their magical blend of simplicity and sheer power. On the other hand, Decimator’s slower tracks are hit-or-miss. “Turn up the Heat” crushes me with a thumping bass line and a main theme that’s mid-paced but ferocious, mirroring Afterburner’s “Red Dawn.”1 However, the album’s closers “Pathfinder” and “We Are the Night” fall short of delivering the same goods, with sluggish ideas that lose my attention. More generally, Decimator’s second half seems to run out of ideas, with riffs that sound fun but uncannily familiar. Decimator is powerful, but it loses some steam despite its concise 31-minute runtime.
Decimator’s mastery of melody raises Kryptos to new heights. Stratospheric leads permeate each song, providing gorgeous backing that unexpectedly evokes Jess and the Ancient Ones (“Electrify”). But Decimator hits hardest when the melodies take the reins. “Fall to the Spectre’s Gaze” vies for Song o’ the Year through a divine guitar solo with a divine lead-in. Five tracks later, “In the Shadow of the Blade” miraculously pushes in front with solo work that summons the intensity of Painkiller. Each of these highlights shines through Decimator’s rich production job. When I listen to Decimator, I feel like I’m lodged in between the guitar strings, and mere inches from the bass. Every reverberation of every string bleeds through both melodic bonanzas like “Fall to the Spectre’s Gaze” and riff-fests like “Electrify.” Every guitar solo feels like a personalized jam, complete with thoughtful foreshadowing from Kryptos’ riffs. With tunes this powerful, Decimator is unstoppable.
While Decimator fizzles out near its end, it’s exhilarating nonetheless. Kryptos has yet to fully overcome the lethargic chugs that plagued Force of Danger, and Decimator struggles with repetition. Even so, every listen through the album feels like sprinting a marathon. Even more impressively, Decimator levels up Kryptos’ sound through both its supersonic guitar leads and its striking production. Sometimes you don’t need to reinvent the wheel. You just need to burn rubber.
Rating: 3.5/5.0
#2024 #35 #Accept #AFMRecords #Afterburner #BurnUpTheNight #Cities #Decimator #Dokken #ForceOfDanger #HeavyMetal #IndianMetal #JudasPriest #Kreator #Kryptos #Motörhead #Review #Reviews #Sacrifice
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Today In Metal History 🤘 June 29th, 2024🤘 DOKKEN, DEEP PURPLE, GREAT WHITE, VOIVOD, BATHORY, RUSH#Dokken #DeepPurple #GreatWhite #Voivod #Bathory #Rush #JohnLawton #UriahHeep #LucifersFriend #PinkFloyd #MotleyCrue #Slipknot #AliceInChains #Styx #Mastodon #ThyArtIsMurder #BulletForMyValentine #Converge #CrystalViper #DeathRequisite #FatesWarning #NightVerses #Nonexist #Stormwitch #Thou #Cavalera #CryptSermon #Wormed #Phantom
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Today In Metal History 🤘 June 29th, 2024🤘 DOKKEN, DEEP PURPLE, GREAT WHITE, VOIVOD, BATHORY, RUSH#Dokken #DeepPurple #GreatWhite #Voivod #Bathory #Rush #JohnLawton #UriahHeep #LucifersFriend #PinkFloyd #MotleyCrue #Slipknot #AliceInChains #Styx #Mastodon #ThyArtIsMurder #BulletForMyValentine #Converge #CrystalViper #DeathRequisite #FatesWarning #NightVerses #Nonexist #Stormwitch #Thou #Cavalera #CryptSermon #Wormed #Phantom
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Today In Metal History 🤘 June 29th, 2024🤘 DOKKEN, DEEP PURPLE, GREAT WHITE, VOIVOD, BATHORY, RUSH#Dokken #DeepPurple #GreatWhite #Voivod #Bathory #Rush #JohnLawton #UriahHeep #LucifersFriend #PinkFloyd #MotleyCrue #Slipknot #AliceInChains #Styx #Mastodon #ThyArtIsMurder #BulletForMyValentine #Converge #CrystalViper #DeathRequisite #FatesWarning #NightVerses #Nonexist #Stormwitch #Thou #Cavalera #CryptSermon #Wormed #Phantom
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Today In Metal History 🤘 June 29th, 2024🤘 DOKKEN, DEEP PURPLE, GREAT WHITE, VOIVOD, BATHORY, RUSH#Dokken #DeepPurple #GreatWhite #Voivod #Bathory #Rush #JohnLawton #UriahHeep #LucifersFriend #PinkFloyd #MotleyCrue #Slipknot #AliceInChains #Styx #Mastodon #ThyArtIsMurder #BulletForMyValentine #Converge #CrystalViper #DeathRequisite #FatesWarning #NightVerses #Nonexist #Stormwitch #Thou #Cavalera #CryptSermon #Wormed #Phantom
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Today In Metal History 🤘 June 29th, 2024🤘 DOKKEN, DEEP PURPLE, GREAT WHITE, VOIVOD, BATHORY, RUSH#Dokken #DeepPurple #GreatWhite #Voivod #Bathory #Rush #JohnLawton #UriahHeep #LucifersFriend #PinkFloyd #MotleyCrue #Slipknot #AliceInChains #Styx #Mastodon #ThyArtIsMurder #BulletForMyValentine #Converge #CrystalViper #DeathRequisite #FatesWarning #NightVerses #Nonexist #Stormwitch #Thou #Cavalera #CryptSermon #Wormed #Phantom
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DOKKEN Postpones European 'Farewell' Tour After DON DOKKEN Fractures Ankle -
Anyone out there using #testkitchen w/ #dokken driver? As #busser-serverspec is deprecated: How are you running #serverspec #tests?
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Anyone out there using #testkitchen w/ #dokken driver? As #busser-serverspec is deprecated: How are you running #serverspec #tests?
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Anyone out there using #testkitchen w/ #dokken driver? As #busser-serverspec is deprecated: How are you running #serverspec #tests?
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𝗔𝗰𝘁𝗶𝗼𝗻 𝗺𝗼𝗲𝘁 𝗱𝗼𝗸𝗸𝗲𝗻 𝗻𝗮 𝗼𝗻𝘁𝗲𝗿𝗲𝗰𝗵𝘁𝗲 𝗱𝗲𝗴𝗿𝗮𝗱𝗮𝘁𝗶𝗲 𝗮𝘀𝘀𝗶𝘀𝘁𝗲𝗻𝘁-𝗯𝗲𝗱𝗿𝗶𝗷𝗳𝘀𝗹𝗲𝗶𝗱𝗲𝗿
Koopjesketen Action let op de kleintjes, maar moet nu diep in de buidel tasten om een onterecht gestrafte assistent-bedrijfsleider schadeloos te stellen. De vrouw werd na klachten van werknemers over onder meer racisme te snel twee rangen teruggeplaatst. Dat kost Action nu ruim...
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Today In Metal History 🤘 May 13th, 2024 🤘 DEATH, TED NUGENT, MAGNUM, DOKKEN, VALLENFYRE
MUSICIANS WE LOST R.I.P. Charles Michael "Chuck" Schuldiner (DEATH, CONTROL DENIED) 1967 – 2001 (aged 34) The godfather of death metal would've turned 57 today. R.I.P. producer Jack Arnold Richardson: 1929 – 2011 (aged 81) Producer Jack Arnold Richardson passed...#deathmetal #magnum #dokken #vallenfyre #chuckschuldiner #buckethead
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Today In Metal History 🤘 May 13th, 2024 🤘 DEATH, TED NUGENT, MAGNUM, DOKKEN, VALLENFYRE
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Today In Metal History 🤘 May 13th, 2024 🤘 DEATH, TED NUGENT, MAGNUM, DOKKEN, VALLENFYRE
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BRIAN "HEAD" WELCH Explains How KORN Got Into 7-String Guitars
Dokken, Steve Vai, Munky, Head. It all came together.https://metalinjection.net/news/brian-head-welch-explains-how-korn-got-into-7-string-guitars
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BRIAN "HEAD" WELCH Explains How KORN Got Into 7-String Guitars
Dokken, Steve Vai, Munky, Head. It all came together.https://metalinjection.net/news/brian-head-welch-explains-how-korn-got-into-7-string-guitars
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BRIAN "HEAD" WELCH Explains How KORN Got Into 7-String Guitars
Dokken, Steve Vai, Munky, Head. It all came together.https://metalinjection.net/news/brian-head-welch-explains-how-korn-got-into-7-string-guitars
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BRIAN "HEAD" WELCH Explains How KORN Got Into 7-String Guitars
Dokken, Steve Vai, Munky, Head. It all came together.https://metalinjection.net/news/brian-head-welch-explains-how-korn-got-into-7-string-guitars
#Korn #SevenStringGuitars #NuMetal #Munky #BrianHead #SteveVai #Dokken #JazzInfluence #GuitarEvolution #SevenStringRevival #GuitarHero #Ibanez
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BRIAN "HEAD" WELCH Explains How KORN Got Into 7-String Guitars
Dokken, Steve Vai, Munky, Head. It all came together.https://metalinjection.net/news/brian-head-welch-explains-how-korn-got-into-7-string-guitars
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Technically a mashup but... stica!
#blacksabbath #metallica #music #musicvideo #warpigs #alpert #dokken
https://www.youtube.com/watch?v=4vKXrGWJST4 -
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JEFF PILSON Is 'Angry' And 'Pissed Off' About DOKKEN's 2023 Box Set 'The Elektra Albums 1983 - 1987'#JeffPilson #Dokken #ToothAndNail #40thAnniversary #ElektraAlbums #BoxSet #Disappointment #Remastering
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JEFF PILSON Is 'Angry' And 'Pissed Off' About DOKKEN's 2023 Box Set 'The Elektra Albums 1983 - 1987'#JeffPilson #Dokken #ToothAndNail #40thAnniversary #ElektraAlbums #BoxSet #Disappointment #Remastering
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JEFF PILSON Is 'Angry' And 'Pissed Off' About DOKKEN's 2023 Box Set 'The Elektra Albums 1983 - 1987'#JeffPilson #Dokken #ToothAndNail #40thAnniversary #ElektraAlbums #BoxSet #Disappointment #Remastering
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JEFF PILSON Is 'Angry' And 'Pissed Off' About DOKKEN's 2023 Box Set 'The Elektra Albums 1983 - 1987'#JeffPilson #Dokken #ToothAndNail #40thAnniversary #ElektraAlbums #BoxSet #Disappointment #Remastering
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JEFF PILSON Is 'Angry' And 'Pissed Off' About DOKKEN's 2023 Box Set 'The Elektra Albums 1983 - 1987'#JeffPilson #Dokken #ToothAndNail #40thAnniversary #ElektraAlbums #BoxSet #Disappointment #Remastering
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BulletBoys – Bannermans – Edinburgh – 15th March 2024 https://allabouttherock.co.uk/bulletboys-bannermans-edinburgh-15th-march-2024/ #michaelschenker #BlueOysterCult #FasterPussycat #Y&TQueensryche #FoghatAccept #GardenOfEden #JudasPriest #KingdomCome #GigReviews #AlphaSista #BulletBoys #Cinderella #MotleyCrue #CrashDiet #Helloween #JeffLabar #Loudness #Nazareth #Warrant #Accept #Dokken #Krokus #Poison #Yngwie #AC/DC #Anvil #Dio
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FOREIGNER/Ex-DOKKEN Bassist JEFF PILSON Hopes To Release His Yoga Book In 2025#Foreigner #Dokken #JeffPilson #yoga #book #BooksForMetalHeads
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GEORGE LYNCH On DON DOKKEN's Claim That DOKKEN Frontman Wrote 'A Lot Of' Band's Biggest Songs: 'That's Bulls**t'#GeorgeLynch #DonDokken #Dokken #RockHistory #BiggestSongs #SongWritingCredits #BullsShit
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GEORGE LYNCH On DON DOKKEN's Claim That DOKKEN Frontman Wrote 'A Lot Of' Band's Biggest Songs: 'That's Bulls**t'#GeorgeLynch #DonDokken #Dokken #RockHistory #BiggestSongs #SongWritingCredits #BullsShit
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GEORGE LYNCH On DON DOKKEN's Claim That DOKKEN Frontman Wrote 'A Lot Of' Band's Biggest Songs: 'That's Bulls**t'#GeorgeLynch #DonDokken #Dokken #RockHistory #BiggestSongs #SongWritingCredits #BullsShit
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GEORGE LYNCH On DON DOKKEN's Claim That DOKKEN Frontman Wrote 'A Lot Of' Band's Biggest Songs: 'That's Bulls**t'#GeorgeLynch #DonDokken #Dokken #RockHistory #BiggestSongs #SongWritingCredits #BullsShit
