Kreator – Krushers of the World

Numerous genre-defining thrash metal bands have experienced significant commercial success with the revival of the genre in the first half of the 2010s, but when it comes to some of the most important names in the Teutonic thrash metal scene, it seems that only Kreator has truly managed to capitalize on that musical climate change.

Ever since the release of the magnificent 2012 opus Phantom Antichrist, the band has steadily grown. The following two albums, Gods of Violence (2017) and Hate Über Alles (2022), might not be among the band’s strongest or most defining works, but they did manage not only to maintain the momentum but also to build upon it and further expand Kreator’s reach.

Their sixteenth studio album, Krushers of the World, is not about to jeopardize that trajectory, meaning that Kreator are once again playing it safe.

After a change in the producer role on the previous album, the band is this time back to working with Jens Bogren, who also helmed Phantom Antichrist and who seems to have become the band’s safe space. Compared to its predecessor, there is a bit more edge here, which is a welcome feature. However, the general sonic approach is much like what we’ve grown accustomed to, with a clean, balanced sound and the sharp Kreator punch.

Unlike several previous Kreator albums, the new album doesn’t open with a designated intro track, but the opener “Seven Serpents” does include an intro. The difference this time around is that the intro is not featured as a separate track.

The opening couple of tracks are as trademark Kreator as it gets, with fast pacing, recognizable riffs, and Mille Petrozza’s signature vocals. The choruses are anthemic and filled with hooks designed to easily involve the crowd in a live setting. On the title track, the band slows the pace down but maintains a firm grip on infectious hooks, whether in the riffs or the vocals.

Much like on the previous album, there is a guest appearance from a female singer on “Tränenpalast,” courtesy of Britta Görtz of the German melodic death metal band Hiraes. Sofia Portanet’s guest performance on Hate Über Alles resulted in the very interesting “Midnight Sun”; “Tränenpalast,” on the other hand, comes across as a White-Gluz-era Arch Enemy song. Still, it doesn’t feel out of place, as Kreator dip their toes more into melodic death metal on this record.

That balance between old-school Kreator and the more approachable version of the band from the past few albums is what characterizes this release – and Kreator’s success in general. They manage to satisfy fans who have followed the band for decades while simultaneously adding a more modern aspect to their music in order to appeal to younger audiences. While that may sound simple in theory, it is actually quite risky and difficult to achieve.

Musically, there are no surprises on Krushers of the World, but what sets this album apart from the previous couple of releases is how extremely focused and trimmed down it is. With a running time of 46 minutes, it is direct and to the point, and, with the exception of the intro, nothing feels unnecessary.
It’s a very calculated record, with each song written to fit a live setting, packed with simple hooks and melodies that wouldn’t be out of place on a Running Wild record. Even the track order is thoughtfully crafted, so that within the first half of the album it already offers something for just about every kind of Kreator fan.

There is plenty to like here, with the blistering duo of “Barbarian” and “Blood of Our Blood” standing powerfully in the middle of the record. “Psychotic Imperator” is another intense and dynamic piece, and the title track is so catchy that after one spin it’s stuck in your head for good.

On the other hand, a few songs come across as fillers, but they do maintain the album’s flow and energy. The album closes with a love letter to the fans in the form of the noble, though somewhat awkward, “Loyal to the Grave.”

Kreator’s sixteenth album is a clever and extremely well-executed record, one where the band manages to regain intensity and focus while simultaneously pleasing just about any Kreator fan. The fact that it’s so calculated may strip away some of the old Kreator charm, but after four decades of making music, it would be strange for them not to capitalize on their experience rather than trying to recreate the raw edge that defined them – and many similar bands – back in the day.

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