TRACK BY TRACK REVIEW: VADER 'WELCOME TO THE MORBID REICH' (NUCLEAR BLAST))

1. 'ULTIMA THULE'

No surprises – Vader love intros, used them on their last three albums (composed of a similar formula), and if it's necessary give numbers, they've been playing it safe for nine years. Fortunately, with ‘Welcome to the Morbid Reich’ this is about to change. Unlike 2009’s average ‘Necropolis’, ‘Ultima Thule’ is the first of only two intros, and even better – they're both adequately situated in the playlist. A grandiose, ceremonial opening, lightly merging into…

2. ‘RETURN OF THE MORBID REICH’

Which masterfully underlines the whole symphonic pomposity, before getting rid of it (for a while, at least) with one of the most extreme moments in the Polish veterans’ career. Piotr Wiwczarek’s mighty ‘uuurgh’ kickstarts a powerful combination of mindstorming blastbeat and thrashy, pleasantly organic riffage that wonderfully sets the beginning of arguably the best Vader album since ‘Litany’.

3. ‘THE BLACK EYE’

Then it’s time for the classic war march that ‘The Black Eye’ definitely is. With militaristic tempo, unforgettable riffs and the trademark short, ripping, yet strangely melodic solos, ready to drop you to your knees and cut your head off… Straight away!

4. ‘COME AND SEE MY SACRIFICE’

And while Behemoth constantly developed to reach the point where they almost went mainstream, but succeeded in remaining themselves and Decapitated showed people how technical death really should sound, Vader have always been the stronghold of traditionalism in the Polish metal scene. With songs like ‘Come and See My Sacrifice’ the band continue to be such, as this song isn't made to be heard, but to be experienced.

5. ‘ONLY HELL KNOWS’

Things get even more frightful when track number five – fast, ugly and merciless in it’s old school rage is spat out by this monster of a record. The song rarely reaches brainwashing speed or headcrushing heaviness, but it is as brutal as needed. Tortured opening riff and some of the most diverse vocals Pete has ever exhorted. This is Vader at their most grotesque!

6. ‘I AM WHO FEASTS UPON YOUR SOUL’

One of the album’s most epic moments, ‘I Am Who Feasts Upon Your Soul’ starts with an almost Zimmer-ish symphonic interlude and after a brilliant guitar bridge (similar to the bridge on the cover artwork, but built in music form), slowly turns into the beast it has to be. Mid-tempo death metal madness with rich, doomed atmosphere and an amazing solo.

7. ‘DON’T RIP THE BEAST’S HEART OUT’…

… Starts directly from a great string-duel between Pete and Spider. Bombastic blastbeat adds more weight to the solid main riff and probably makes Doc proud of his ex-colleagues in his boiling cauldron there in the underworld. Don’t worry Doc, songs like this one concrete the quartet strong positions in Hell. They’ll soon be your new neighbours.

8. ‘I HAD A DREAM…’

Sinister is the solemn way in which the second part of ‘Welcome to the Morbid Reich’ continues to sound as ‘I Had a Dream…’ adds another epic note in the album as if Vader are currently celebrating some triumph of evil.

9. ‘LORD OF THORNS’

‘Lord of Thorns’ easily explaines why the band are often described as ‘death-thrash metal’ and, let’s not miss the subjective element – this is how the subgenre should sound. To be specific, more death than thrash. And proudly embracing the as-many-as-possible principle when it comes to the ripping solos. Legion Of The Damned – take some notes, please, or don't come back.

10. ‘DECAPITATED SAINTS’

It’s truly difficult to compare when the quality of a given release is at this height, but ‘Decapitated Saints’ is probably the most brutal track, not only in ‘Welcome to the Morbid Reich’, but in the band's entire career. From the song-title, through yo the harrowing speed Peter shoots his vocals out, to the final blood-freezing call.

11. ‘THEY ARE COMING'

The second interlude and the soundtrack to a terrifying satanic ritual.

12. ‘BLACK VELVET AND SKULLS OF STEEL’

Perfect epitaph with the slowest and obscurest number on this full-length. It’s definitely not an accident that all ends with a single call to arms: ‘HELL!’. Surprise or not, this is one of Vader’s strongest albums and an unexpected return to form.