Kreator are one of the bands that first made me appreciate thrash, and my admiration for them has never faded. Personal feelings aside, the band’s historical significance needs little explanation. Alongside numerous acts, they helped revolutionize heavy metal, shaping thrash from the raw energy of punk —and what they achieved cannot be undone. For that reason, any discussion of thrash must always reserve a special place for them.
I mention all this to make an antithesis between what Kreator once were and what they’ve become today. Sadly, their current direction bears little resemblance to the savage character of their early years. Even their return after the industrial experimentations of the 90s still retained strong doses of thrash intensity. However, Mille has decided that the band should deviate, and “Krushers of the World” is just another step along that path.
Released four years after the mediocre “Hate über alles”, the album follows the same approach. Having set aside their purely thrash foundations to a large extent, Kreator insist on infusing their music with melodic elements and heavy/power metal influences that have little to do with what originally defined them. As on previous releases, we hear a band that —this time even more strongly— rely on ear-friendly refrains that may enhance memorability but also move the music further away from its roots. Most of the tracks feature anthemic patterns that lean toward melodic death metal, at times making Kreator sound like a generic Scandinavian band of that genre.
The introductory “Seven Serpents” clearly reflects Kreator’s tendency toward the Swedish sound, combining dynamic, aggressive riffs with pronounced melodies. This formula remains largely unchanged throughout the album and often fails to capture the listener’s attention (“Satanic Anarchy”, “Krushers of the World”), although the dark “Tränenpalast” breaks this pattern, partly due to the successful collaboration with Britta Görtz (Hiraes). The album is mostly filled with this rather alienating approach, which ultimately doesn’t deliver anything truly remarkable.
On the contrary, the moments I enjoyed most are those that hint at the thrashier and wilder orientation absent from the rest of the stuff. Tracks such as “Blood of Our Blood”, as well as “Psychotic Imperator” and “Deathscream” near the end, briefly raise adrenaline and help mitigate the otherwise negative impression left by the record. Even so, it’s hard to imagine any of them standing alongside the material from Kreator’s classic releases.
I may have objections about the band’s musical direction, but “Krushers of the World” is technically excellent, presenting a band that perform tightly, like a well-oiled machine, and the experience of each member is evident throughout. Petrozza and Yli-Sirniö precisely serve the former’s vision —their collaboration in the epic “Barbarian” being a prime example. The robust rhythm section leaves no room for missteps, while every detail is carefully highlighted under the clear production and mixing of Jens Bogren.
The band’s material may well appeal to listeners who prefer a stronger melodic, epic, or even power element in their extreme music. Kreator clearly cater to that audience; it’s Mille’s decision, whether we like it or not. Still, this isn’t the Kreator I once adored. They no longer sound dangerous and provocative. They don’t raise the middle finger in your face. They don’t stick a thorn in your side to discomfort you. That band is long gone, and I hold no illusions that they will return.
In my view, in recent years Kreator have become a live act (their shows are still killers), while their recent studio output has offered little that stands out, and “Krushers of the World” is no exception. The insistence on elements designed for broader appeal often comes at the expense of a band’s identity, and Kreator are one of the clearest examples of this.
Of course, I don’t have any doubt that the new album will be commercially successful. Kreator may still expand their fan base, particularly among younger listeners who are just beginning to explore the world of metal and connect with the band. With its accessible, ear-friendly character, “Krushers of the World” has something to offer this audience and could serve as an entry point, eventually leading newcomers to discover the band’s more ferocious side. However, for those who learned thrash through “Extreme Aggression” and “Coma of Souls” this release means little. It offers a few scattered moments of interest, but before long they’ll simply move on.
♦ 5,5/10
Alex Nikolaidis
