Total Metal: The Neat Anthology

To write a review is one thing, but to pen a text which encompasses more or less the entire history of a band is something completely different. Admittedly, the career of Atomkraft was rather miserable. One full-length and two EPs cannot be deemed as a gargantuan discography. The good thing is that the small selection of songs makes it easy to compile the "best of" album. It's rather an "all of". Therefore, here comes Atomkraft with all its highlights and lowlights.

The sleeve notes tell us that "the tracks...are in order of their level of importance to the band" and this fact is alarming, because the first disc starts fairly mediocre. Both "Total Metal" and "Pour the Metal In" belong to those tracks of the anthology that fail to break new records in terms of power, speed or ingenuity. There are no exciting riffs, no great melodies and the level of harshness does not blow the audience away. This is ordinary heavy metal with a thick and relatively dull production that lacks of transparency. One finds more songs on the discs that could be described with the same words. Especially the second part is comparatively trivial. Yet Atomkraft also penned amazing tunes. Due to the fact that the songs are not chronologically arranged, the discs deliver a zigzag course between rather traditional metal - the band started during the NWOBHM - and pure thrash. "Protector", number twelve on the list of importance, demonstrated that the British band with the German name had the skills to become a well respected member of the then constantly growing thrash community. The song is swift as an arrow, its riffs cut through the ear canals of the listener like a hot knife through butter and the chorus lends the song an almost majestic touch without slowing down the pace. Moreover, it has withstood the test of time with great ease.

At the other end of the musical spectrum lie songs like the semi-ballad "Funeral Pyre" which is obviously the fifth most important song (I am confused) and the acoustic instrumental "Mode III" on position 20 of this scale (this poor placement comes as no surprise). To stay fair, "Funeral Pyre" is pretty decent, but simultaneously almost painfully predictable with regard to its soft beginning and the more or less heavy chorus. Anyway, these pieces expose the fact that Atomkraft were neither a typical thrash band nor was the formation interested in black metal, although their (pretty embarrassing) "Future Warriors" outfit was designed in order to create an apocalyptic image for the group. With regard to this outfit, it was almost logical that Tony Dolan joined Venom after the here presented works with Atomkraft. He was responsible for the bass guitar and on the debut album he also managed the vocals. But Ian Swift, who did the job behind the mic on "Queen of Death" and "Conductors of Noize", was a tad more expressive and more flexible than the young Dolan. Anyway, his participation in three phenomenal yet underrated Venom albums ("Prime Evil", "Temples of Ice" and "The Waste Lands") guarantees him a place in the history books of British metal. By the way, one of the previously unreleased tracks of the second disc is an alternative (or original?) version of Venom's "Even in Heaven", one of the best tracks of "Temples of Ice". Yet I have to keep in mind that this review is about a release of Atomkraft and despite the stylistic inaccuracies, one thing cannot be doubted. This formation was authentic and blithe. Their kind of metal was free from external, mostly harmful influences. The further highlights can confirm this.

Driven by restless verses, "Foliage" crosses the border to thrash and speed metal, while the somewhat gloating "Rich Bitch" scores with catchy, mid-paced leads. The comparatively furious "Warzone" impresses with both its vehemence and its density. "Vision of Belshazzar" adds another aroma. It is almost progressive (not by international standards, but in comparison with the other compositions in the Atomkraft universe) in view of its pretty extraordinary pattern, the tempo changes and the minimalist oriental touch. Its mix of rasping riffs and smoothly flowing lines works very well and a slightly dramatic note is not missing. Without lacking speed, "Future Warriors" has an appropriate science fiction intro. By contrast, songs like "Your Mentor" with its pop appeal, the melodic vocals, the keyboard-soaked chorus and soft instrumental part show the commercial facet of the band. Not totally bad in view of the solid melody line, but more or less irrelevant and pretty banal. To make a lame pun, Atomkraft did not atomize anything or anybody with this piece.

If somebody would ask me, for what reason Atomkraft never reached a bigger status, I would answer as follows. First of all, the debut was simply too weak. "Future Warriors" was not lukewarm, half-baked or uninspired, but due to a lack of outstanding ideas, it could not compete with the works of the rapidly rising number of competitors. Furthermore, Atomkraft seemed to suffer from the "British disease". Just like many other bands from the United Kingdom, for example Xentrix, Slammer, Onslaught, D.A.M, or Sabbat, they did not have the necessary stamina that it needs to conquer the numerous adversities of the music business. But that's all water under the bridge. At the end of the day, "Total Metal" is worth listening to as long as one likes pure metal without frills or gimmicks. It is no sonic sensation, but real metal.

Disc one offers plenty of decent standout tracks, including the opener “Total Metal” which offers hints of Motorhead and Tank. “Ritch Bitch” is another tough showcase, with great vocal bits and a thundering thrashy sound throughout. Some excellent and classical thrash guitar leads in this cut. The closing track of the disc is a great medley of two well known Atomkraft numbers; “Death Valley” and “This Planet’s Burning”, which offers anything a thrash metal & NWOBHM fan could want, really. This track really brings to mind the phrase “thrashy NWOBHM” which is a useful term for describing the band’s sound. Another tight number on this disc is the thrash assault “Teutonic Pain” which delivers thundering riff-age and destructive guitar lead frenzies, seemingly out of nowhere. Subject matter and vocal work bring Exciter, Exodus and the like to mind.

Disc two carries on with the Onslaught. Track two “Queen of Death” is a galloping thrash anthem featuring one of the bands throatier vocal moods, with shouted gang thrash vocals which punch right out of your stereo. Great lyrical content, and delivered furiously. “Demolition Boyz” is a fun number, with slightly more of a NWOBHM/rock n roll feel that makes you want to shout along as you take a swig from your lager. The disc also features a few demo versions, including “Total Metal”, the title track, which sounds even tougher and dirtier this time round. Great stuff. This track certainly is an example of what people deemed a Venom-esque sound. The track “Visions of Belshazzar (live)” may continue a wee bit in the vein of Venom, possibly Venom meets Overkill. It’s a bit of an epic song in terms of lyrical content, and pace changes. Strong shouted vocals, and pretty tight guitar work make it a solid live rendition. “Dance of the Immortals” on this disc is a top number, offering everything you could want.

An awesome collection of Atomkraft’s offerings, in a convenient set that i'll guarantee will have you rocking out regularly. Atomkraft is a must if you enjoy bands like Venom, Overkill, or U.S. thrash in general, and those who enjoy NWOBHM. Particularly suited if you’re after a NWOBHM band with a harder, tougher sound. A solid album, on par with many other thrash greats. Get it today!