Sometimes the band needs not only to work hard, play as much gigs as possible and get the right management. There is also a luck factor, no matter how it sounds debatable. There are tens of bands, which succeeded because of their hard work and thousands of bands under equal conditions that were not so lucky. And you know what? If Protector had a little bit more luck, it could be in a pantheon of Teutonic Thrash Metal with Sodom, Kreator and Destruction for a long time. But unfortunately it hadn’t.
Started in 1986 as a Teutonic Thrash Metal band, Protector slowly gains metalheads’ attention and release a good album Golem in 1988. After that the band starts to add some Death Metal elements to their music and continue to perform and record the albums. But some line-up changes and some incomprehensible label actions lead to the band’s split. Nevertheless, in 2011 the former participant Martin Missy, which moved to Sweden, decided to resurrect Protector. In 2013 Reanimated Homunculus, the first album for the many years was released and in 2016 Cursed And Coronated, which was highly acclaimed by critics and fans. And here comes the third album of renewed Protector – Summon The Hordes.
An album opens with low demonic voices in “Stillwell Avenue” that changed with a thunderous Thrash Metal attack. Later music goes to Death Metal with blast beats, ripping guitar riffs and Martin’s raspy guttering growl.
German Thrash Metal school can be distinctly heard in “Steel Caravan” and solid, teeth crushing “Two Ton Behemoth”. The title “Summon The Hordes”, “Three Legions” and “Unity, Anthems and Pandemonium” are more Death than Thrash, the thing Protector is known for. And the ending song “Glove Of Love”, despite its Thrash/Death attitude goes more Punk with its structure and approach. Maybe that’s the reason why it seems so alien on this album.
As I said earlier, Martin Missy’s vocal is raspy, guttering growl and it can’t be better for this music. Michael Carlsson’s riffs are tough, solid and very fast, which is cannot be said about his solos – they are fast but “faceless” most of the time. I can’t say they are unnecessary, but they aren’t noticeable at all. But the rhythm section of Mathias Johansson (bass) and Carl-Gustav Karlsson (drums) are off the charts, especially drums – they are extremely fast, with great delivery and proper aggression.
To sum up, Summon The Hordes isn’t innovative and revolutionary album. But it’s crushing, aggressive and brutal, just like Thrash/Death Metal needs to be. Do you need something else?
Summon The Hordes was released on April, 26 via High Roller Records.
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