When the album was then because, expectations seemed then but maybe to have been too high ... anyway, it disappeared for years in my shelf and was found only in the last two weeks the way into my system. And now I'm torn, I think the part. Since this smoking-hot riffs emerge, drumming that you wegballert, just cool - and then back passages that seem inconsequential, items that are not worthy of this band ...
So from the very beginning:
The opener - the same time the title track - linked musically to where Possessed has stopped 13 years previously. On the slightly doomy intro (very cool!) Followed by a rough, thrashy but snotty-rocking death metal that goes fully to the Twelve, and the new does its job also pretty neat. So far so good.
Angel Of Death reminded not only by name to Slayer. The riffs often sound like a big tribute to that very band - but that The Crown like to install Tributes in musical or artwork technical form in their works is almost the only thing that then makes this song even to a typical song for them. Otherwise, here the dirty rock I lack. Nevertheless, the part would be a cool Thrasher, were it not for the sudden receding quality of Stahlhammars singing: Monotony and how read it leiert its lines of text next to the Geballer forth without phrasing, breakouts, accents or other, which would make the singing here somehow interesting. It takes him almost as disturbing background noise for music true - partly it goes down, but is still too present to be completely ignored. This song is his greatest failure, so it will only get better - but oddly pale he is then, with few exceptions also for much of the rest of the album.
Age Of Iron makes then again many things right, here flow back rock elements of classic heavy metal - the song would mE so can also be on Crowned In Terror. And go back the old Crown-typical melodies and harmonies used.
The Tempter And The Bible Black then grabs even to Black Sabbath reminiscent, almost doomy guitar work from, the song remains rather slow to mid-tempo, and rocking like hell here. The great rock tunes that have so often spotted the boys, flowing here with a - and Stahlhammar here shows up even from the good side, savvy, diverse roars and he yells into the microphone - melodic, hauling more songs seem rather its strength to be.
Soul Slasher thrasht then again in the best old school thrash style then, goes from good, but not stands out and also shows again less of the beloved Crown Trade Marks.
Blood OD provides them not much, but scores with cool, technical Death Metal Gefrickel, which is indeed unusual for the band, but seizes the same in the brain. Geil! Even if the song comes across rather mediocre again.
In Through The Eyes Of Oblivion and Desolation domain then flow temporarily cool again, typical rock bonds and melodies, but the songs remain mixed and seem to put the emphasis on old school thrash.
In From The Ashes I Shall Return then you surprised with completely unfamiliar elements and partly slightly sloping reef - not typical, but made very cool, I like it just because it is surprising.
And He Who Rises In Might is a very cool bouncer - from the second half. But until then, you have to by uninspired melodic riffs (approximately at 2:10) or overly technical but unfortunately not as well written Gefrickel fight. Toward the end, but you ballert us then suddenly all the strengths of the band again in the second part of the song to the ears before you dismiss us with an absolutely typical, horny, melodic outro.
(The intro of the successor fits the way to as if the two albums written from a single source - I often hear both sequentially on the MP3 player and initially did not realize that a new album, or even a new song started).
Total Doomsday King is thus certainly not a failure. On the contrary, it is solid, horny often pretty good to. It would also be a pure thrash metal album (with Death Metal bonds) nor the majority of today's Retro Thrasher far superior in terms of variety, riffing and drumming, and general game skill. It only has a few weaknesses that but then, are times less serious but more times. It is almost a pure thrash metal album with some death metal bonds - and I love that sound. But I have The Crown expected and are now time for the mix of Death, Thrash and lots snotty rock and heavy metal. You'll find it all here - but greatly reduced compared to older works, I think. Self Possessed 13, the much rougher and brute came along at that time, as the more melodic previous albums, yet put a lot more on the dirty punk-rocking vibes. And that's what I found cool, and I miss her here too often.
At quite a few places the songwriting seems a little uninspired as described above about the last song. But this is bearable, because not too present.
More serious is the singing. Although Jonas Stahlhammer makes no bad job (apart from Angel Of Death), but often seems powerless and sometimes little expressive. But against his predecessor Tompa Lindberg or even Johan Lindstrand he does not come at the outset, this lacks rage and madness. Its something monotonous croaking would fit in my opinion more of a black metal band.
Nevertheless, I think that I, the album now that I have engaged in a thorough, but will often lead to heart me. Despite all the shortcomings, I have found it for me, it still has a lot to offer musically. which some other bands could still learning a thing or two.
As an introduction to the music of The Crown, but I would recommend to newcomers, first and foremost Death Race King, Crowned In Terror zuzulegen, Possessed 13 or Hell Is Here - anything you can then make up to deepen or to complete the collection later.
