Diamonds

Traditional heavy metal is the genre that's been experiencing the most fruitful and outstanding revival movement over the past decade and a half, roughly. There are a number of excellent bands that came around in recent years, and they sometimes manage to create something as great as their predecessors. I'm thinking of Riot City when I say that, I'm thinking of Traveler, War Dogs among others, and now that I heard this record, Enforcer. "Diamonds" is a magnificent display of an European group that absolutely worships the late 70s to early 80s when it comes to heavy metal history.

The style of the music is very unique, which is not what you can say about the decisive majority of these revivalist bands. But as soon as I heard the first song "Midnight Vice", I immediately realized I am dealing with an entirely different league here than the leagues 99% of the revivalist bands are playing in. This band has a crystal clear and extremely specific vision about what they wanted to do, and they aligned the music absolutely nanometer perfectly to that unique, magnificent picture they imagined. The band plays traditional heavy metal in the style of the biggest names of the late 70s to early 80s, and do a lot more than that. They add their own flavor to the mix, which means way more speed, and an incredible emphasis on melody. There are extremely few bands in this solar system that go out of their way this much to make the music as catchy, melodic and memorable as possible. Enforcer is one of those few.

So about the songs themselves... They are all amazing pieces of refined and sophisticated, melodic and clever metal. There are songs that are very ballsy and fierce speed metal, such as "Take Me to Hell", or "Live for the Night", which are surprisingly fast and the band manages to keep the melodies coming no matter how fast they're playing. Despite the unquenchable love for speed metal that I have, my favorite songs fall under the traditional, mid-paced heavy metal umbrella of the album. Songs like "Walk With Me", or "Running in Menace" are just right up there with the finest of the genre altogether, in any time period, that's how memorable and original they are.

Enforcer's songwriting prowess is a force to be reckoned with. They are very creative, and they write very colorful, very "productive" music. The riffs utilize a variety of different techniques, including power chords, chord breaking, tremolo picking, strumming, and more... Whatever heavy metal guitar playing includes, it is in here. And it's not only here, but it's been put to use in the best way possible, to create a beautiful picture of insanely sticky, memorable melodies. The solos are also jaw-dropping, the most jaw-dropping of those would be one in "Nightmares", where the guys go back and forth for almost a whole minute, with well thought-out polarity between the two guitars.

Vocalist Olof Wikstrand is a very recognizable, very talented vocalist with a voice that's perfect for heavy metal, particularly for the classic, "back to the early 80s" heavy metal that Enforcer plays. His voice is high-pitched, but he is extremely soothing and classy. There are quite a few heavy metal vocalist that shriek at the top of their lungs, like a worm that got stuck in a tree, but don't count Olof among those. He's very aware of how to do vocals properly and he understands that he's a band member, not a solo artist.

The production is one of the reasons why this album is so special among all the relatively new heavy metal albums. If there was a little bit less clarity in the audio quality, I would immediately put my money on the year 1980, as the production is very reminiscent of Saxon's "Wheels of Steel". This is the kind of production that the new Savage Grace album was trying to go for, but only done right this time, and free from the insane compression. The guitars have very little gain when compared to the rest of the albums, but this is what it was like in the early 80s, so who would argue with such a decision? It's a ballsy move to try to recreate that era, but Enforcer did it absolutely flawlessly.

It is a delight to hear albums like this that have been released in the near past. It is always difficult to find one band that really stands out, that really takes everything a step further and executes their idea spotlessly. But Enforcer without a doubt did just that with this album. There always are a couple of magnificent records that are worth the research and the hunt. A couple of "diamonds".

As much as I love a good dose of straight-to-the-face speed metal, it usually takes a few more ingredients for a band to truly find themselves. Sweden’s Enforcer followed-up their strong debut with something that does just that, completely sinking into the groove that would define themselves as a whole. Diamonds not only doesn’t let up their speedy backbone roots, but integrates beefy songwriting that fits right in with it. The end product would come to be one of my favorite metal albums since the turn of the century, with only a few rivals in the past twenty-three years.

Despite this great leap forward in songwriting, the production still has the organic feeling that we got two years prior with Into The Night, being about as good a balance as you can get. The drum tone matches that atmosphere wonderfully, pairing with the perfectly audible bass under that umbrella. With this comes a side of more breaks and bridges that pump the songs with lots of life, working well with the speed metal structures and the steadier ones alike. Collectively, it sits alongside and under vocals that feel the littlest bit more concise from before, not needing to rely on heavier outbursts. In essence, every band member shines brighter than they ever have before.

The real magic is how this all works in every track, regardless of the method applied. “Katana” is a tune I pretty much fell in love with instantly, due to its emotional guitar intro leading to stellar chord progressions and a chorus that has my endorphins sky high; the backing vocals here are tremendous! Moreover, the slow-down phase that utilizes simple licks meet a ferocious solo wonderfully, backed by basswork that rivals Steve Harris. “Running In Menace” follows it up with a similar tone while reversing the momentum to a calmer presence across the board, achieving that feeling without the extra ingredients. Similarly, “Walk With Me” drags this cooler aesthetic out with mystical precision in lieu of advanced soloing. Its haunting soundscapes and poetic integrity are rather fitting for the ode to David Lynch’s Twin Peaks: Fire Walk With Me. Proper layer placement plays such a huge role this time around, and I’m here for every minute of it.

Yet, plenty of Diamonds works with speed aggression at just the right times. “Live For The Night” is so jarring following the tame title track, an instrumental interlude sandwiched between it and another catchy ripper known as “High Roller.” Closer “Take Me To Hell” sends us off with a final fast boost without letting go of any memorability, a chord that “High Roller” also strikes. Catchiness in general is displayed everywhere without using it as a crutch, even for the aforementioned longer songs at the top.

Opener “Midnight Vice” lets this be known right away, using a catchy chorus as its main selling point while slowly peeling back the riff layers that lead us to it. Like this one, several tracks borrow a little bit of influence off of every face, rather than using one main idea and building around it. “Nightmares” is an interesting one, because its main rhythm may be the heaviest on the album, yet the chorus and vocal bridge feel quite welcoming. “Roll The Dice” does the exact same thing in a shorter time frame, acting as a solid set-up for the stellar “Katana.”

Anytime some old head that stopped checking out new music when they graduated high school says there’s no good traditional metal anymore, I immediately think of this record. Enforcer have been cranking out banger after banger ever since their start, and this 2010 effort is a masterpiece that I’d call a “desert island” album. Speed metal is the band’s backbone, but this introduces advanced song structures, strong poetry, a new sense for advanced melody, and production that lets everyone stand out. Regarding traditional metal in the new century, it’s up there with Ghost’s Meliora, Haunt’s Mind Freeze, Skull Fist’s Chasing The Dream, and Konquest’s Time And Tyranny.

Originally written for ToothAndNailed95.blogspot.com

I was sitting here at home musing on what Enforcer might have done if they hadn't hideously dropped the ball on Zenith by waiting 4 years and then farting out a shitty glam rock do-over of their speed metal majesty. But then I thought I should look on the bright side and just listen to Diamonds, which is a glittering example of how to meld glam rock attitude and catchiness to speed metal riffs and adrenaline. To be honest, I wasn't totally sold on the band's 2010 sophomore album the first few times I heard it, because it's just not as knee-jerkingly chaotic as Death by Fire, nor does it experiment nearly as much as the brilliant From Beyond. However, in retrospect I admit that it was a big step up from the debut and - given the time of its release - more or less took Enforcer to the head of the NWOTM pack, seeing as White Wizzard and Steelwing were just getting started, while Cauldron and Skull Fist couldn't match up to this level with their debut releases.

So why is Diamonds great while Zenith didn't work? Largely speaking, the Wikstrand brothers and their cohorts struck a fine balance between trad metal revisionism, slightly simpler catchy hooks, and the same mad speed metal that made Into the Night such a rush 2 years earlier. It's not complicated, but it works very well, sounding something like Striker before they started to fall foul of the balance too. I'd like to take the "Japanese section" of the album to explain. 'Katana' (obviously Japanese) uses those classic triplet-based riffs and a few Maiden-like guitar and bass fills throughout the verses, then follows into the chorus with backing "Woah-oh"s at full force; a brief twin guitar move takes it back out into the verse, while a quiet section with a touch of keyboards (think 'Remember Tomorrow' or 'Innocent Exile') leads into quite an extended guitar workout of solos and melodies that Wolf were so good at on their first couple of full-lengths. Bear in mind that 'Katana' stretches out to 6 minutes and is clearly the most developed cut on Diamonds, since we average 4 minutes, but 'Running in Menace' ("See you in Tokyo, down in the city" is the Japanese part) does things differently, substituting speed for a pounding rock beat and a stronger vocal presence, taking the aggressive album opening down a few notches.

Those songs more or less lie at the extremes of Enforcer's sound here, although 'High Roller' and 'Live for the Night' both crank up the speed to the irresistible levels of the debut, using just a touch more control to ensure the hooks and musicianship triumph over energy and enthusiasm. On the flipside, we still get enough energy and enthusiasm to make each song exciting and to balance those glam moments, which I wouldn't find musically tasty without the contrast. The instrumental title track also offers evidence of a growing desire to experiment, since a dancing up-tempo piece hits a ghostly wall after around 2 minutes and ends as a haunting acoustic passage, which sets up the simple rush of 'Live for the Night', otherwise the plainest track. Sure, a few songs pale slightly by comparison to the exuberant 'Midnight Vice' (another great mix of those different elements), though the more emotional tone of 'Nightmares' is only lacking a better verse riff and 'Walk with Me' a little editing to bring them both up to a similar standard.

I wouldn't go out to praise Diamonds quite as much as the Enforcer albums that followed, partly because I don't detect the same chairthrowing qualities of truly white-hot songs such as 'Run for Your Life' or 'Undying Evil', though I also accept that the Swedes probably weren't attempting the same levels of house-wrecking chaos, sticking to more traditional uses of early '80s styles. That late '80s strut and swagger definitely seems more evident on Diamonds than on albums by many of Enforcer's peers, but I still feel that a Mötley Crüe audience would be hopelessly out of their depth if 'Walk with Me' or 'Running in Menace' was played at a stadium gig. What seems most remarkable from the view of Enforcer's career is how quickly the quartet evolved from ripping off sub-Killers riffs and playing them at high tempos, dropping a set of 10 carefully constructed songs just 18 months later. Diamonds lands in an interesting niche and is a gem of a speed metal album.

There’s a lot of validated hype surrounding the so called New Wave of Traditional Heavy Metal as countless metal heads of a new generation and older rockers alike yearn for the highly melodic and compelling sound of classic metal bands from the 70s and 80s. Fast forward to the present day and one can revel in contemporary bands such as Ambush, Cauldron, Monument, Striker and Widow, who are currently doing a stellar job of bringing back that era’s wonderful nostalgic feeling. At the top of that list is a Swedish band originally from Arvika and now based in Stockholm by the name of Enforcer which, curiously enough, is more often than not classified as “speed metal”. Well, if such is the case, they are by far the most melodic and talented speed metal I’ve ever heard! Their 2008 debut, Into the Night, was already quite enthralling with tracks such as "Black Angel", “Mistress from Hell” and “Speed Queen”, then in 2010 came along their incredible sophomore effort, Diamonds. This release truly lives up to its title as an essential “desert island” release. Duly, it stands as one of my favorite records of all.

Sounding like a sleek modern take on Riot’s Fire Down Under, Tokyo Blade’s Night of the Blade or even Witch Cross’ Fit for Fight, this release is so freaking awesome I really don’t know where to start with the praise. One thing is for sure, I cannot find any fault whatsoever with it. From an utterly fantastic overall musicianship to a clear, out-of-this-World production, Diamonds is such a gem it possesses an ethereal quality to it. I’ll start with their singer, Olof Wikstrand. His slight Scandinavian accent gives a real cool and ingratiating edge to his voice. Mixed in with his swift high-pitched vocals, the album moves along at a cozy pace as the resulting effect launches each and every song right through the roof and leaves you clamoring for more. He has such a unique voice that so completely fits in with the music, it just makes you want to keep listening. Add to that the effervescent guitar riffs, exquisite solos, phantasmagorical bass lines, frenetic yet tight drumming, and you might start to catch my drift.

Now before I get ahead of myself and lost in ramblings, I just want to say that by “phantasmagorical”, I mean that the bass playing on Diamonds is definitely some of the best and most intense I’ve ever heard. I’m not talking in a Primus sort of way either. Imagine Steve Harris’ legendary creativity combined with Kip Lemming’s prodding oomph and a bit of Burke Shelley’s magic thrown in to spice things up... Holy crap! If anyone can listen to Tobias Lindkvist’s bass playing here and claim they’re not impressed, I’ll frigging eat my HAT! Right from the excellent opening track “Midnight Vice” to the balls-to-the-wall closer, “Take Me to Hell”, he displays serious engagement towards his instrument, giving every song its own special undertow. His bass lines are extremely colorful and warrant any aspiring or accomplished bass player’s full attention. As well, they’re not buried at all beneath Adam Zaars and Joseph Tolls’ skillful guitar playing, but prominently stand out and consistently take on a life on their own. The bridge sections on “Katana” and the opening bass line to “Walk with Me” are prime examples of this. Tracks such as “Roll the Dice”, “High Roller” and "Live for the Night" simultaneously showcase Lindkvist’s commanding versatility and speed. Although he consistently adds neat little fills to his bass lines, he doesn’t showboat or stray from away from the songs’ core structures. Add to this Diamond’s rock solid production and what you’ve got here is an unforced, naturally smooth and very pleasing listening experience. All the band’s components, from Wikstrand’s spell-binding vocals to his brother’s zealous drumming, are in perfect sync with each other, and this is also why I qualify this release as having an ethereal quality to it.

Most of the songs are in the three to four minute range, but the amount of catchy, hard driving riffs and wickedly fluid guitar solos to be heard is truly mind boggling. Zaars and Tholl complement each other perfectly and come up with some real zingers such as the main riffs to "Roll The Dice" and “High Roller” as well as the bridge sections to “Katana” and “Nightmares”. I love the entire album from start to finish but some sections are absolutely mesmerizing. Being the longest track at six minutes, “Walk with Me” features an awesome solo before breaking down into a beautifully mellow bridge section followed by yet another flurry of mini-leads. Along with “Katana” and the plethora of uninhibited yet more focused lead breaks, it shows just how much the band has matured since releasing Into the Night. While I still like it a great deal, I admit their debut could be interpreted as speed metal. However, as I implied earlier, it would be too limiting and unjust to simply lump Diamonds in with all the actual speed/thrash albums out there. No disrespect or anything, but this release is just too innovative and melodic, going above and beyond what one would expect from that particular genre.

As for the title track itself, it’s perfectly placed halfway through the album as the token instrumental and while I often find such vocal lacking songs a bit bland or subdued, this is definitely not the case here. The riffs and solos are just as compelling. The following track, “Live for the Night” revs you right up with its two and a half minutes of lightning fast riffs, jangling bass lines and Wikstand’s furiously pounding beats. “Running in Menace” features my favorite chorus on the album and has a sweet early 80s vibe to it, in a Tygers of Pan Tang sort of way. On “Nightmares”, the riff and harmonics at 02:08 blow my mind every time. The fact that part doesn’t last very long but sounds so amazing when it does come up makes it me look forward to it that much more. “Take Me to Hell” is as strong an album closer as it gets with its sky-reaching bass line and wild, 70s style pentatonic solos. Every song on Diamonds is jaw-dropping great and highlight Enforcer at the top of their game. I really can’t pinpoint any preferred tracks but I’d pick “Midnight Vice”, “Roll the Dice” and especially “High Roller” as the ones that come to mind instantly when I think of this masterpiece.

It’s worth noting that Joseph Tholl and Jonas Wikstrand are the acting vocalist and drummer for Black Trip, another outstanding, recently formed band from Sweden which shares similar occult related themes but has more of a 70’s hard rock vibe. If you dig Enforcer (and I’m willing to bet you will), I highly recommend checking them out also. Tholl is a surprisingly competent vocalist as well as a highly skilled and soulful guitar player.

I’ll be forever grateful to Enforcer for not only fully rekindling my passion for this kind of music but also for being my first introduction to the amazing Scandinavian traditional metal scene. I don’t know what they’re putting in the water but man, there’s some incredible talent brewing over there. I’ll sign off by sharing the following nugget, courtesy of the band members. While being interviewed by Sweden Rock Magazine, they firmly stated: “Heavy Metal is not old school; it’s timeless.” This is certainly the case with Diamonds. Like a fine wine, it only gets better with age. While their other releases are also highly proficient, there’s something uniquely memorable about this one. If you’re new to the band and into this particular genre, I recommend starting with this release. Don’t be thrown off by its speed metal categorization. This is “timeless” traditional heavy metal at its finest!

"See you in Tokyo out in the city - you will never walk away from me
See you in Tokyo if you dare you will fight til the end when I'm gone, do believe
I'm running in menace!"

A follow up from Enforcer was something I highly anticipated after the typical but very entertaining debut "Into The Night". Their grasp on what made classic 80's metal tick was greatly appreciated, especially without an eye-rolling sense of self-awareness that a number of other NWOTHM bands seemed to hold on to; I'm fucking talking to YOU White Whizzard! So how does "Diamonds" stack up to "Into The Night"? Well, I'll say this: I don't enjoy it overall quite as much as the debut, but I'm more than ready to admit the the technical and lyrical content on here is a mighty improvement over that of the debut, hence the slightly higher rating. Grab a pick ax; let's dig for "Diamonds"...

The style of the music on "Diamonds" does differ from the more aggressive, rawer debut. While the heavy/speed metal vibe is still on full display, the thrashiness from the debut is noticeably replaced by an interestingly more hard rock-oriented tone. This doesn't hurt the songs, not at all; it just gives the band something different to work with so they're not making the same damn music over and over. This can especially be heard in the slower tempo of many of the tracks, as well as larger-scale hooks and some big arena choruses.

One of the most notable aspects of "Diamonds" is how much the bandmates improved in between records. Olaf Wikstrand has a more solid grasp on his vocal work, not just mercilessly shrieking away but adding layers and melody to his voice as well as changing up his strong range to wherever it may fit, though he rarely does go below mid-range. Joseph Tholl drops bass duties from on "Into The Night" and instead joins the guitar club with the returning Adam Zaars, who has grown in his skills considerably. Here he sounds more sure of himself and his solos are far more complex and more technical; even his riffing is a bit sharper. Together the two make a solid duo and give the album a richer guitar tone. A tone that unfortunately drowns out the bass, which, performed by newcomer Tobias Lindkvist, isn't nearly as prevalent as is was on the debut. Still, it helps round out the sounds and depth I guess, and he does have a few short moments to shine. Jonas Wikstrand returns to drum the night away, and what a job he does. He still clearly likes to just pound away relentlessly, though this time he shows off his tighter fill skills and his own brand of strengthened tech drumming.

As previously stated, the songs on "Diamonds" have a noticeable hard rock vibe to them, thought they are still very much old school-styled heavy/speed metal. There's only two songs I don't dig on here: we have "High Roller", which isn't stupid or anything but the song as a whole is pretty forgettable, not to mention the would-be chorus is executed half-assedly. The other is the snappy but ultimately useless instrumental title track; good bass, good riffs, not much else to brag about. Everything else slays though. The opener, "Midnight Vice", has kind of a weak, though catchy, chorus but sees the full Maiden-meets-Dokken sounds on display, playing away and ripping through those melodic riffs and tight solos. The fastest song on here, "Live For the Night", has easily the catchiest chorus on here as well as some of the best riffs, while "Nightmares" and "Roll The Dice" roll right along with their Riot/Priest mannerisms including massive, entertaining choruses, slicing solos and immense hooks. "Katana" may be the album masterpiece if not totally thanks to the immense extended solo that would make Tipton and Downing a couple of proud blokes.

Overall, "Diamonds" is a step up many departments. The songwriting is stronger, the music work tighter and more complex, though overall it doesn't push my buttons quite as often as the charmingly raw hyperspeed of the debut. Even still, this diamond is one worth digging for, and fans of classic metal will surely not be displeased. Enforcer rides again!

Riding the wave of traditional heavy metal, Enforcer is one the many bands trying to reignite the spark Iron Maiden and other stalwarts of the eighties brought to the heavy metal scene nearly thirty years ago. The important aspect about Enforcer is that while they yearn for the studs and leather of yesteryear; their heavy metal spirit and originality pushes them towards the front of the pack in the new splash of bands.

The Swedes chuck out speed metal mastery with lighting charges of furious metal and blazing guitars. The guitars have a thick, heavy tone that is easy to digest, while solid drumming and sweet bass lines intersect. The meat of the album is with the guitars and vocals because they shine and give the impression that this was released in 1985.

“Diamonds” goes for the throat immediately with “Midnight Vice”, a fast number with the great hook and is a perfect example of how to start an album. Olaf Wikstrand utilizes the highest plains with his vocal attack and is prominent throughout the album. His energy flows very nicely with the accelerated charges of his band mates.

This album is at its best with the longer songs found on here. The variation of leads and blasting delivery of “Katana” along with a great chorus makes this one a standout. “Walk With Me” is another fine song with a nice intro bass line courtesy of Tobias Lindkvist and the vocal melody is engaging. The overall broodiness of the song separates it from the other songs.

The title track is also an instrumental and is flowing with the Maiden influence. The similarities to “Transylvania” are conspicuous; however the Swedes take it down a notch near the end by slowing it down and relax the mood. It sounds kind of weird, but it flows well and shows they are not afraid of changing things up a bit.

The rest of the album is pure and simple fun. It does not reach a point of being watered down as each song has its own distinct way of engaging the listener whether it’s a chorus, guitar riff, or blazing solo. The up-tempo beats make for grade A head-banging. “High Roller” and “Running in Menace” have all the qualities one would want for straight-up heavy metal and the twin guitar attack of Adam Zaars and Joseph Thall is impressive.

“Diamonds” is a great sophomore album from Enforcer. The take no prisoner’s attitude and high energy metallic assault makes this one of the best from the new era of heavy metal. The opening song is an indicator what one are going to hear and “Katana” and “Walk With Me” round out an impressive metal storm. Enforcer is creating their path with traditional metal; and if this album is any indication, they will make a huge impression.

Alright, so... this is a review for Enforcer's latest album, Diamonds. After listening to this album myself, the first thing that comes to mind is "holy fuck." Give it a listen and you'll see what I mean. It sounds like it was recorded in like 1983. Add equal parts Killers and Unleashed in the East, maybe some generous dashes of good ol' NWOBHM, and you've got yourself Diamonds, 10 wholesome tracks of heavy metal. Part of this complete breakfast.

So, onto the actual "review" part of this review.

Alright, I'm going to be totally honest with you. I'm sitting here trying to think of something else to say about these songs other than "THEY ALL KICK ASS," and quite frankly, I'm failing at it. Really, it's just totally unnecessary to tediously dissect all these songs to paint you a detailed picture of what you're getting yourself into by picking up this album. There are no weak tracks here, really. The songs are all very catchy and still maintain a lot of that "speed metal" thing the band had going on with their first effort, Into the Night, only with some touches of hard rock here and there.

So, in conclusion, '80's heavy metal enthusiasts will be touching themselves listening to this album. People who totally dismiss "traditional" heavy metal should either listen to this album and reevaluate their lives or hang themselves. This band kicks ass. Anyone who says otherwise has no idea what the hell they're talking about. Don't listen to them. They're bat-shit insane. Buy this album. It's very good.

The end.

I first heard of Enforcer when they released their first album which was an amazing release that gave me goosebumps every time I listened to it. The album was great and for quite some time it was the main CD I listened to. I thought that the dudes could not top it anymore and would release something sub par and very mediocre. Upon discovering that they were making a new album I wanted to hear it and I hoped my thoughts were completely wrong. It turned out that with songs such as "Midnight Vice", "High Roller", "Roll the Dice", "Take Me To Hell" and "Nightmares" the album is an even bigger improvement over the debut.


The above songs I've mentioned are very impressive. What one song lacks, the others make up for it in superb ways. If I wouldn't known any better I would actually think that these songs were recorded back in the 80's which is what's so special about this release. The entire vibe of the album is very retro and it actually makes you feel like you are in your room 30 years earlier, sharing a cigarette with your buddies, and head banging like crazy. The bass is very audible, the guitars are in standard tuning, and the vocalist actually sings, what more can you ask for?


Being a vocalist myself I am not too fond of instrumentals and I can never fully understand why a band would leave out a song with out lyrics. Maybe it's writers block, maybe it's laziness, but that doesn't matter. Now just like with the previous release, the band has given us an instrumental which is actually pretty good. It starts out fast and the riffs are fun, ultimately ending with a very slow/soft passage that fades out. Now I just can't take the fact that this song would have been ten times better if there were vocals included. Although the song is good, I won't find myself listening to it a lot since it's an instrumental, and with out vocals it's boring after awhile. "Running In Menace" is a good song that takes a slower approach but still is kick ass. It has a very catchy chorus and lets you slow down and appreciate the music.


Having went over most of the things on the album, I am left with two of the strongest tracks on the album which also happen to be my two personal favorites from the album. "Katana" and "Walk With Me" are two 6 minute long epics that blow my frikking mind. One is about swords and the mighty samurai, while the other is about something really redundant and too philosophical to understand. How more metal can this be? This is where the album really shines. Who doesn't love 6 minute long songs about the most bad ass things ever?


Having rambled on for a good few paragraphs, I must say that this album is a very solid release that every metal head should hear. Regardless of your style, whether it be death, thrash, or even black, you need to hear this, you will like it. This is where the trad metal revival is at, this is where it all re-begins.

-Ralf

In a year that has been pretty disappointing to me overall, one album that has stuck out for me has been Enforcer’s Diamonds. Diamonds is the second effort from Sweden’s Enforcer, and frankly, this is how nu-trad should be played. I’ve been rather unimpressed with bands like White Wizzard. For some reason, I often find the “retro aesthetic” to feel forced more than anything else, but with Diamonds, everything feels genuine.

For starters, this is basically a mix of Iron Maiden and Angel Witch combined with a feel-good, party-hard attitude. The vocals here feel like what the one’s on Angel Witch’s self-titled album should’ve been (and that’s my only gripe with that album whatsoever), with a good ratio of ballsiness to slightly effeminate melody. Not “bad” effeminate, mind you, but that kind of high-pitched, 80s effeminate feeling. Like Vince Neil if he could actually sing and played in a decent band.

Anyway, the vocals take center stage in the first track, ‘Midnight Vice,’ with what has to be one of the catchiest choruses of 2010. That catchy chorus, combined with the general bad-assery of the verse riff and vocal delivery just makes this song click really well. The solo is one of those NWOBHM “shredder” type things, and it works well in the context of the song. One of my favorite parts of the song, however, is the little break before the end where the vocalist (Olof Wikstrand) gets an opportunity to really show off his pipes. This track does an excellent job of starting off the album, and is generally a good example of Enforcer’s more vocal-centric styled songs.

Next up is another favorite of mine, ‘Roll The Dice.’ This song is more focused on a very subtle, yet catchy as hell guitar riff that occurs throughout the verses. Even with another catchy chorus, this as the feelings of being a guitar-oriented song, and the break at the 1:40 mark proves it. Here, we’re presented with a hella catchy riff that leads into a solo, then returns and leads into a faster solo. This isn’t complex by any means, but it’s nicely composed and gives some variety to a genre that almost always sticks to the verse-chorus structure.

Some of the songs here are more adventurous, with ‘Katana’ and ‘Walk With Me’ both being around the six minute mark and having larger instrumental sections. The melodic guitar riffs and leads are really emphasized in this section, and it’s here where Enforcer’s roots are felt most. I could easily see Iron Maiden or Angel Witch writing stuff like this in their early days. Then there’s the instrumental title track which is quite entertaining. There’s no wankery to be found–just a ballsy collection of riffs and solos that works very well together, mixed with some good bass leads towards the end, all with a slow outro.

There are a few tracks that feel filler-ish to me (‘Running In Menace,’ ‘High Roller’), but even then, those are fine slabs of heavy metal that just don’t happen to stand out amongst the rest of the great tracks on this album. Overall, this is one of my favorite releases of 2010, and definitely my favorite release of this trad-revival. IF you want a ballsy, fun, retro-sounding heavy metal album that’s completely true to it’s roots, then Enforcer’s Diamonds is what you’re looking for.

Written for http://thenumberoftheblog.com/

Regression is a word that's been tossed around a bit the past few years, with a seemingly ammonium perchlorate aided ignition of old school thrash, massive interest in Darkthrone's last few albums and now with a rise in traditional metal's appearance. But regression assumes that the whole of metal has come to a point in which the old way of thought had been entirely ousted in the minds of metal fans in favor of new trendy modern ideals in production and songwriting. I don't believe in regression. There's been a sway of old and new since the day Sabbath played that first infamous note - and the true thunder roared. What the hell does this have to do with Enforcer? Some may say that they are regressionist but I think of them as an entirely different class. It would be much easier to label their latest release, Diamonds, as youthful revisionism. The influences of early metal mainstays like Maiden, Priest and - daresay I - a little glam, have been combined with Enforcer's infectious excitability. It's like metal never encountered Possessed or Venom. As if the most extreme in metal was a hard hitting Dokken track.

With Diamonds, Enforcer seem to have clearly set out to make a more consistent and rounded album than debut Into The Night and with Diamonds Enforcer seems to have caught stride of their goal. Albums are made of songs, and Diamonds has a few. From opener "Midnight Vice" the sleazy vibe of a raucous night on the town with nothing to lose sets in, a feeling stolen from Anthem's self titled debut. Tracks like "Nightmares" or the awesome "Live For The Night" are almost straight off Dokken's Tooth and Nail, a combination of rougher songs like "Don't Close Your Eyes" and Iron Maiden's Killers. Though duds like "Roll The Dice" and "High Roller" break the momentum, the majority of songs keep the album's pace set at pedal to the metal.

Title track "Diamonds" is a three and a half minute instrumental highlighting the band's instrumental prowess and also a desire to progress in the face of their revisionist tendencies as the song ends in a strange, Floydian ambient rock jam like Meddle meets Sabbath's more experimental moments in a bed under a blanket with the cover to Return To Forever's Romantic Warrior printed in perfect detail. Grasp that one. Still, the abilities of this band as musicians are apparent throughout the disc. Tobias Lindkvist's takes and almost singular influence from Steve Harris - gallops, fills, even the tone I can hear him trying to achieve is all Harris circa 1980 just a little more gooey. Jonas Wikstrand is capable on the kit, utilizing everything possible to yield maximum metallic volume. Sadly, though his playing is tight and very traditional - basic and simple during verse and chorus but spreading out when the opportunity arises - it sounds lifeless often, and I can't determine whether it's him or the production. Guitarists Joseph Tholl and Adam Zaars are, as on Into The Night, phenomenal though I would've liked their guitars to be mixed louder.

Olof Wikstrand (I can't find any information on if he is related to drummer Jonas Wikstrand though by the looks of them, I am going to wager this is the case) is undeniably the force behind Enforcer, and I think you can hear in his voice that he really loves this music. His vocals are heartfelt first and foremost. Across the album he really prefers the higher ranges but never really wanders into a battle with those dreaded nasally high pitched wails. It may have something to do with age but he doesn't have that rasp to his voice, and its edge would definitely help add some intensity to the album. Regardless, there is some sort of strange grit there, a certain harshness which is unmistakeably metal in every way. I think he sounded more aggressive on Into The Night though. I also love how under produced his vocals are. There are no imposing effects added though Olof's voice is not totally parched either. At the most, there has been a lot of layering done. Most parts are dubbed it seems, to thicken up the vocals during choruses especially. The chorus in "Katana" has at least four vocals dubs itself.

Speaking of which "Katana" would be my favorite track if "Live For The Night" just wasn't such a hit and run, left then right, crush and kill classic metal track. The only thing that could make this song better is if Razor or Motorhead or even Midnight had recorded it instead. Without being too critical though, "Katana" is easily the most complex track on the recording and it hurts. Aside from a pig-sty sloppy digital edit at 4:14 - not the only one on the album either - coming out of the solo just making me shake my head at, the song is flawed. It is held back by a strangely un-metal mid section, jostled around like a rock climber, struggling to gain a foothold on what seemed to be such an easy face. The first two trade of solos sound tired; rehearsed twice too many times. Luckily, the second solo is doesn't quite disappoint. The thing is that, the longest track on the album, and the most involved has to be damn good. And this one just isn't up to par. Also, completely unrelated but "Walk With Me" really sounds like it should be a bonus track on the re-release of this album fifteen years down the road from now.

For revisionist heavy metal with some character, Diamonds is a strong candidate for anyone's collection looking for something new but not too far from what the genre has grown up with. This is truly a classic styled metal release, quirky, mired in controversial issues (I've been accosted by metal fans for wearing a black metal band's t-shirt while playing Keep It True... how do traditional metal fans in some countries feel about the guitarist for Tribulation playing in a traditional metal band?), a controversy waiting to appear. I would never put this next to some of the newer albums which I feel really convey that classic metal fist in the air, air guitar to the heavens posturing like Metal Inquisitor's Doomsday For The Heretic - an album I've overlooked and underrated for the past few years but which has enamored me now - or Shadowkeep's Corruption Within - a nod to Fates Warning's Spectre Within but placed in a modern context. Diamonds may have been up there were some of the filler removed, like the ungodly "Running In Menace" and the production was just a bit less 'dull.' What I really think Diamonds is though is a prelude a great third album.

With their second album, the Swedes of Enforcer come back with pretty much the same formula they had developed on their tasty debut, 2008’s Into the Night. We're still in known territory with their speedy, melodic NWOBHM-oriented heavy metal that sounds an awful lot like early Iron Maiden minus the punky influences. The main difference here is that they slowed things up a bit, adding a little hard rocking fun for good measure (quite possibly originating from early-Def Leppard and Tygers of Pan Tang) which suits their catchy compositions nicely.

The few misfires of singer Olof Wikstrand have also been corrected when compared to Into the Night and he’s much more in control of his high-pitched spectrum on Diamonds than he was on Enforcer’s debut offering, to the point that he often sounds a bit like The Darkness’ singer, the awful Justin Hawkins, only a lot less annoying and way “gutsier”. Diamonds also has quite a lot of backing vocals “à la” Def Leppard which contribute to enlighten the overall performance of the vocalist.

The production of Diamonds is the other good news when comparing it with its predecessor. Where Into the Night was bordering on amateurism, Diamonds is a feast for the ears with its precise and dynamic sound, not modern in any way, this production, firmly rooted in the era Enforcer reveres is exactly what the band needed.

Another good thing about Diamonds is its moderate length, it seems that the band has focused on its strongest material and, thus, delivered a no-filler 40 minutes album which brings it even closer to the good-ole-times Heavy Metal albums formula it seems to rely on.

I realize I haven’t spoken of any song in particular. The reason is simple actually, Diamonds is an effort that you listen from start to finish with a big smile on your face, an horned fist risen in the hair and hair all over the place with demented headbanging. Really, If you are a fan of old-school Heavy Metal, this is a mindblowing trip down Nostalgia Lane. Anyway, if I had to mention 3 songs from Enforcer's mighty collection it'd probably be Roll the Dice and its delightful “disco-rhythmed” solo break, Katana and its 6 minutes of pure epic melodic Heavy Metal or the eponymous instrumental with its exquisite dueling guitars and even a little surprise towards the end of it. But, really, all the songs featured here are great so it’s hard to see those three as highlights as I truely consider the album as a whole and have no real favorite among those 10 kick-ass tunes.

To sum things up, Diamonds is undoubtedly a must hear for anyone favoring old-school heavy metal especially in times where double bass too often takes the control. Sure, it’s nothing new or groundbreaking, it’s just fun albums that makes you headbang like crazy and, trust me, there’s nothing wrong with it and when it’s so amazingly done, it leaves with a sore neck, a silly smile on your face and... Hungry for more!

The styling of traditional speed and classic metal is all the 'latest' rage these days, with larger genre labels like Earache snapping up a number of artists to carry out the execution of the revival. Will it somehow succeed? I very much doubt it. But considering the enormous backlog of bands in this genre who were around in the 80s, releasing great material and never receiving much international attention, at the very least we can hope these younger bands spur on some sort of mass nostalgia. Several have tried thus far, and in many cases, like Earache's other 80s cult White Wizzard, the result is not all that impressive. Sweden's Enforcer, however, may just have the chops and attitude to really pull it off.

Yes, the band carries with them the image of an 80s act. Stylish stage clothing, 80s like album covers, and suitable logo for the time period they are emulating. But what's more important, I never once feel, when listening to their sophomore outing Diamonds, as if they're anything less than a genuine article. I don't imagine Enforcer sitting around their jam space, brainstorming a bandwagon they can hitchhike to achieve some sort of success. They don't come across as a group of teenage internet 'scholars', revisionist punks who got into metal music in through Rock Band on the XBOX and feel like they need to rationalize themselves with worthless lyrics about 'metal' or the history of metal. No, Enforcer feels like the real deal, as if they grew up with classic metal music like Angel Witch, Riot, Lizzy Borden and wish to share their love for these times by adding to the legacy rather than mocking it.

Their first album Into the Night was a success, but I feel as if Diamonds is one step better. This is a legitimate work of 80s speed metal, rooted in the British tradition, with a slight hint of reckless USPM and a production job which does not date it much beyond the period it emulates. The lyrical subjects range from samurai to smutty, steamy city life, and as irreverent and irrelevant as that might seem, I greatly prefer this to songs about 'thrash' and 'beer', 'moshing' or 'heavy metal _ _ _ _ _ _' which insult the intelligence (unless you're a Japanese Engrish band like Metalucifer which takes it all to such a level of absurdity that you cannot help to become glued to it). Enforcer are not unique, and they know they're not, but they're hardly Captain Obvious either, and for this I am thankful.

I am also thankful for both the nostalgia and I blazing, melodic bliss of tracks like "Katana", "Roll the Dice", "Live for the Night", "Take Me to Hell" and "Diamonds", all of which seethe with qualities I had thought long dead for over two decades. The rough, almost broken vinyl like feel of the mix, and the quivering, but savory throat of Olof "Enforcer" Wikstrand create a hurricane of excellence. But the band can also smooth out the ruffles with a mellow, psychedelic rock moment like you find at the close of title track "Diamonds". Another highlight of this record is the steady "Running with Menace", which feels like pre-80s Riot with even better vocals...but I'll come clean: there is not a single song on Diamonds that I did not enjoy, and if any album is to be considered a flagship for this return to the fundamental speed and boundless excess and energy of metal music, I do believe we're listening to it.

Do you miss the crisp promise of your 80s metal vinyl collection? Do you wonder why so many bands can no longer manifest such spikes & leather today, turning instead towards the safety net of down-tuned brutal extremity? Do you miss the age of the Trans Am? The coin op arcade? Women in makeup and big hair? Do you sing elegies to the days of your hesher adolescence? Enforcer has answered your call, with a good old burst of energetic fun that will not talk down or insult you, but instead celebrate alongside your finer memories, and help you hang onto them a little longer. Diamonds were a girl's best friend. Now they're a banger's best friend, and to the rest of the retro knuckleheads out there: you have your work cut out for you.

-autothrall
http://www.fromthedustreturned.com