Before I get into this album, I want to say the following:

Svart are a fantastic label. You should check out their roster and some of the releases. From classic rock infused metal to full on dark atmospheric doom and the more mystical qualities of stoner doom, there are some cracking releases on the Scandinavian label and if you do one thing, make this a purchase from it in 2015!

Now back to the review…

Night Viper are a five piece classic sounding heavy metal band based out of Gothenburg, Sweeden who include in their ranks, musicians who have played in Miasmal, The Order Of Israfael, Church of Misery, Guerilla, Radiation and Firebird. Formed in 2014, the five piece are set to unleash their debut album, the self titled release “Night Viper” on Svart and given the interest and buzz about this band, this is one album which surely excites.

Opening up with the title track, “Night Viper”, the classic rock meets classic metal feel hits right away. With its high octane rhythm consisting of well structured chords and riffs to a solid drum beat with some flair filled bass licks added for good measure, it kicks in with that attitude and snarl you’d expect from the early NWOBHM bands like Judas Priest and Iron Maiden. The female vocals were not expected at all, and the clean delivery of them with plenty of weight and power behind them is sublime. With a real rocking feel and rawness to it, this opening track sinks fangs in and injects the classic metal venom into you, putting you completely under its spell. Blistering guitar work is strewn across the song, from crafty little fills to a wild but melodic solo which even has some harmony and trade off sections in it for good measure and all of this together creates a fantastic opening track.

“The Hammer” follows on with more of a harder sound to it. With more beef in the sound, its low end rumbles like a chopper, making sure everything around knows where it is. With that metal attitude oozing from it and the passionate vocal delivery which brings back the feeling of the first three Iron Maiden albums but with less punk snarl and more vocal control, it just hits you right on the head. Catchy hook laden riffs provide a fantastic backdrop for headbanging and the semi-thrash like soloing just adds that kick at the right time to really up the tempo.

“Curse Of A Thousand Deaths” is this album’s ‘epic’, clocking in at seven and a half minutes. Opening up with a sinister atmosphere setting progression of guitars laden with chorus and reverb playing a dark sounding arrangement, it really sets the scene for what promises to be an enticing sonic experience. The softly delivered vocals, almost like a ghostly whisper but full of haunting melody seep out from the melody, giving one of those raise the hairs on the back of your neck moments. As it slowly progresses, growing in volume and atmosphere, the anticipation builds and builds as the melodies become more intricate and cleverly arranged to the point where you’re just expecting an all mighty wall of noise to smash into you and leave you lying there in its wake. That wall doesn’t exactly come crashing down, but after four minutes, the fast paced metal seems to seep through the dense atmosphere of the song and inject some life into it with a fast paced section. With the solid vocal delivery and soaring feel riffs, it has an epic feel to it and the payoff is wonderful, especially the lead guitar section… Simply fantastic!

“Run For Cover” has a slight thrashy vibe to it. Bringing in the classic palm muted gallop, it charges ahead at a good energetic pace which encourages headbanging. The vocals are delivered faster and with more attitude behind them and in the chorus there is a slight hint of balls to them as they come off really powerful. With the fantastic riffs and wah-laden shredtastic solo, it is a classic 80’s metal track if there ever was one and it wouldn’t have sounded out of place on an album like “Killers” or “British Steel”. With some great fist in the air feel and rawness to it, it blends the heavy metal wildness and classic metal sound to maximum effect and that wild second solo sandwiched between some more gritty delivered vocals with sneering attitude behind them really nails it!

“Warrior Woman” follows on and this is another seven minute epic of a track. With a dramatic building harmony lead over some spoken word samples and war like drums, it grows in volume, creating another atmosphere before the big bass slide brings in a colossal sounding slow paced monstrous sound. Pounding riffs at an almost doomy pace really ramp up the loudness factor of the album and by the two thirty mark, it finally kicks in. Faster drums and hook laden guitar riffs drive the song on. As with the previous tracks, the well articulated and clean vocal delivery really comes through and holds its own. With the right mix of attitude and balls to it, the vocals really bring the track to life with some real metal flavour and those riffs are just great. Simple and effective, it is minimal input with maximum effect. The guitar and bass harmony section right before the raw sounding solo is great and when that solo comes in, it’s so simple it works brilliantly, allowing you to enjoy the solid rhythm work underneath whilst still finding your hands working up and down that air guitar’s fretboard. The post-solo breakdown is bass and vocal driven and it really builds the mood once more so when the guitars come in, the power really rings out in the vocals and wow… It’s fucking fantastic when it kicks in for the final run down with some big classic sounding Maiden chord work.

“Faces In The Mirror” brings back the more thrash/speed metal approach with a rapid guitar riff over a fast paced heavy groove. Vocally sharp and laced with great riffs and tricky fills, it really brings the action back to life after the previous track slowed it down by just the right amount. With a great headbang worthy pulse, it simply captures the attention and keeps hold of it, bringing tremendous energy to it and that shreding solo with some pounding riffs underneath hits the spot. Getting wilder as it goes on, the solo leads into a complicated sounding fast riff section where the guitars and bass harmonise with each other to great effect before the final chorus really brings it home. Short but with a great impact. “Never Be Enslaved” sounds like something out of the Iron Maiden back catalogue. Any moment now in the intro I’m expecting a “SCREAM FOR ME…..” shout ala Bruce Dickinson. The fantastic harmony lead and chordal approach from the bass with gradual drum build up really pumps the song up and when it explodes to life with that classic Maiden approach, it just sounds great. A sublime solo with a great bass groove underneath it nails the mood and the verse has the right pace to keep the energy going. Vocally its delivered great with the melodic voicing’s acting as an instrument in their own right, giving the chunky sounding riffs some flavour but when the chorus kicks in, it has that big moment feel. Powerful vocals, a rich bass tone which comes from an intricate bassline and some well phrased chords work to maximum effect. The break before the solo has a heavy kick to it and when the solo comes in, the rhythm is full on galloping power under a slick and technically sound dual guitar solo which hits the right balance between flair and structure. The harmony which follows again builds the mood, building the feel for a big sounding ending which really wraps it up nicely.

“The Dagger In Hand” kicks off with a bassline which has buckets of groove to it and a sweet sound. Steady drums and growing feedback slip into a heavy, chunky sounding riff fest with some tight vocal work which has some great power behind it and the simplicity of the chorus, those stabbed chords which pound away work great. Returning to the bassline and feedback, the second verse follows the same path as the first. It’s a classic metal track at just the right pace to headbang or drink and nod in approval to with plenty of scope for some fantastic sing along moments in the live setting. The twin guitar solo harmonies come in again over that pulsing bass riff and as the guitars work their way up the neck, it gets more intricate, growing more and more complicated with each passing phrase in the sequence and the end pay off – a furious sounding wild short solo which explodes to life before shifting into the chorus with no fuss in the slightest and it wraps things up nicely for the album closer. “The Wolverine” brings a close to proceedings with a rapid bass drum and guitar riff heavy intro which goes into that classic NWOBHM feel for one last time. With faster vocals, subtle but effective riff changes and tricky harmony fills, it just oozes heavy metal goodness. With a storming chorus it gets heavier and the dynamics, rolling the second guitar and bass in and out to give it an extra kick before the verse is a great touch. It ‘s just a solid track and like every track before it, it has that classic sound but played with a more modern feel, keeping both the great sound and appeal to it. For the final time we head into a slick sounding dual guitar solo run over a steady rhythm and as the two guitars trade off against each other, it gets faster and explodes into a great harmony ending before that classic metal riff comes in for the final chorus which draws a close to the album, ending in the most rock and roll way possible – the wild flailing round on instruments to give a chaotic and dramatic end to what has been a thoroughly enjoyable album!

On the whole, Night Viper is an astounding debut. It’s the kind of release which makes you sit up and take notice. It takes the classic, much loved NWOBHM style approach and sound and injects some modern kick into it, making the band sound like they belonged there in the early 80’s, on the road alongside Maiden, Priest, Saxon, Diamond Head and the other greats of 1980-’84. This is essential listening for all metal fans! You cannot miss out on this album. It is an all round solid with no weak moments whatsoever.

For me, this is a serious contender for Album of the Year.

(10/10 Fraggle)

Release date: December 4th