Prepared for a Quick Surprise!
That’s a Judas Priest reference!
If there is one band that combines a classic approach with fresh ideas and an expansive joy of playing to honour their ancestors from the likes of early Exodus, Metallica or Slayer, then it is the German five piece Vulture. On their fourth album Sentinels, they prove once again that tradition and further development are not mutually exclusive, but on the contrary can lead to something extraordinary that leaves no headbanger untouched. “In direct comparison to the last album Dealin’ Death, we’ve picked up the pace again noticeably, we’re bolder and a bit wilder again. It was important to us to be catchy and to include choruses that stick. Of course, we’ve basically retained our style, but we’ve defined the framework of the songs more clearly,” says guitarist Stefan Castevet.
However, in order to create such a monster as Sentinels, some changes were necessary. “It started with the songwriting, where we took more time than usual. We recorded a total of three demos with numerous songs, which we also produced to the best of our ability. This gave us the chance to let our songs sink in as relatively final versions so that we could then choose the best pieces and – at least in part – rework them again.” Vulture again recorded with Marco Brinkmann in his Hellforge Studio and there were also some innovations. “We had a clearly structured daily routine, a normal working day with set goals, so to speak, in which we could focus purely on recording the songs. That was quite a change, our previous recordings were a bit less organized which resulted into working overtime for everyone involved at the end. This is one of the reasons why Sentinels is the best sounding Vulture record to date!”
Want some examples? The first single Unhallowed & Forgotten serves as a blueprint for the Vulture style: wild riffs, lots of breaks and tone changes, furious solos, exploding toms and a big chorus! “Lyrically, we also stay true to ourselves. The song is about the Blind Dead film series, whose thirst for blood, like ours, is difficult to quench,” says the guitarist with a wink. “Realm Of The Impaler shows our musical roots in classic heavy metal. Lots of twin guitars and melodies paired with driving drums and a dark atmosphere. The song proves that we are much more than a typical “hit it” thrash band. Lyrically, the song deals with the infamous figure Vlad Tepes: His name a curse, his tongue a whip!”
Oathbreaker, probably the most straightforward song on the album, is completely different. “Oathbreaker is our homage to both the heroes and founders of our style in the late 70s and early 80s, as well as the brave among us who put everything on one card, pursue their passion and have found a way outside the social norm to understand heavy metal as their purpose in life. We salute you!”
Since the release of their last album Dealin’ Death in 2021, Vulture have played the biggest German heavy metal festivals – Wacken and Summer Breeze – as well as numerous smaller festivals. With the release of the digital single High Speed Metal (2022), the band went on tour with their brothers from Exciter and played festivals all over Europe last year, from Denmark to the Czech Republic and France.
LINEUP
L. Steeler – Vocals
S. Castevet – Guitars
M. Outlaw – Guitars
A. Axetinctör – Bass
G. Deceiver – Drums
REVIEW
Ah VULTURE, how I’ve missed thee. The band’s previous outing Dealin’ Death didn’t initially hit for me, but it grew on me quite a lot since its release in 2021. For Sentinels, we see the return of VULTURE’s “mascot”, the disembodied hand(s) that now make an appearance on 3 of their 4 albums. I’ve always been a huge fan of the style of their album art, even through multiple artists, the consistency is appreciated. The same goes for their steel logo, it’s simple and effective. Top marks.
Edit: I just noticed that the T in Vulture in their logo is an axe. That’s rad.
We begin with “Screams from the Abattoir”, which is a strong contender for ‘Coolest song title ever’. An anguished scream belts out in fury before a raucous drumroll ushers in the onslaught of blitzing speed metal that VULTURE is known for. I found myself headbanging to this one almost instantly, good stuff. VULTURE’s vocals have always been an acquired taste for many, but I love them. Great little guitar solo carves itself out near the 1:30 mark. A proper balls to the wall opening track that never let up during its brisk 3:30 assault, and a great way to begin the album.
Next up came “Unhallowed & Forgotten”, one of the main singles from the album. Pounding drums usher in this one, followed closely by some infectiously catchy band chanting of the track title. Exceptional melodic leadwork makes its mark as well throughout the early stages of the track as a leitmotif. At about 2:10 is an amazing sweeping ensemble of guitarwork that ruptured out with the ferocity of a machinegun. VULTURE is firing on all cylinders right now, the whole band is so tight for this track.
After that we have a twofer, the track “Transylvania”, which is an introductory affair of almost melancholic leadwork and woeful chanting before a brief crescendo that gives way to “Realm of the Impaler”. Amazing riffage begins this one before VULTURE gifts us with an always rad banshee’s wail. Damn that chorus is insane, a certifiable earworm if I’ve ever heard one. Great little bridge section at 2:30 that soon befell the wrath of another outstanding solo. The melodic fadeout was the cherry on top to what will be a hard track to top.
Following this album’s MOAB (Mother of all Bangers)so far, we have “Draw Your Blades”, and ooh man that bend in the opening riff was tasty. The little solo at around 30 seconds in was like when you cover something chocolate in more chocolate, it’s great. The axework in this one really shines through it all, but I can’t discredit how on fire the drumming has been throughout the entire album thus far. The sequences of riffs at 3:10 had me gasping for air, it was so dang gross (in a good way). Yeah, this was yet another absolute facemelter of a track, and this album is shaping up so nicely.
To close out the first half of the track, we had “Where There’s a Whip (There’s a Way)”, and some more excellent melodic guitarwork starts things off. Really like the pounding of the drums as it kicks off. The lyrics are certainly a bit simplistic with this one, but that allows the instruments to shine forth, and they do so in spades. The bass has a wonderful groove to it. Subtle, but once you notice it, it’s outstanding. Great shriek at 3:10!
Our second half of Sentinels begins with “Der Tod Trägt Schwarzes Leder” (Death Wears Black Leather). At least that’s what I hope it means, my German isn’t the greatest, and I’m too proud to check if I’m right. Gorgeous mellow guitarwork to start things off, with a crisp and clear bassline in the background. It begins quiet and grows louder and louder until… some ethereal chanting takes it to the next level of beauty. Stunning riff work at around the 1:30 mark though. That same melodic leadwork continues throughout the instrumental track, which eventually takes us to…
“Death Row”, which begins with a thrashing mad assault. Steeler’s amazing shrieks and wails carry us through with might and glory. It’s another track that’s hard to not headbang along with. The opening salvo makes it return multiple times throughout the track, but never overstays its welcome nor gets any less awesome. Love the solo in this one! In addition to being a certified ripper, the chorus is an infectious barrage. A blistering thrashterpiece (like a masterpiece, but it’s thrash. Has that been an album title yet?)
After that came “Gargoyles”, a brief slide begins things before an infectious riff breaks out at the 0:25 mark, and that was soon followed by a momentary flash of chanting. Just epic stuff to start this one off. Love the delivery of the song title in this one. The great riff and chanting make returns across the track’s 3:30 runtime. Steeler belts one out around the 3 minute mark just before the song comes to an end. Like the previous track, it’s short but boy is it sweet.
Our penultimate track, “Oathbreaker”, was next up and kicked things off with some very Priest-like guitarwork. Ooh, it’s an infectious riff that I couldn’t get to escape my brain. The riffing is off the charts in this one, including at the 1:30 mark and again at the 2:30 mark. The vocals and lyrics are a treat to themselves, for sure, but the guitars really get their chance to shine here. A facemelter of a solo confirms this.
Finally, we come to our title track, “Sentinels (Heavier Than Time”. Customary exceptional riffing begins thing, VULTURE are quickly becoming rifflords with the release of Sentinels. Despite the amazing instrumentation, the lyrics definitely take center stage in this one, which is a great contrast to the previous track. The sequence at 2:50 was pure magic, and the section at 3:40 was a true show-stealer. Or so I thought… for the vocal reprisal at 4:00 (grooved wonderfully by some nice bass tones) took me back. The LUZIFER is strong in this one (same guys for the most part, if you didn’t know).
CONCLUSION
Whew! That was an absolute masterclass of speed metal. The very definition of all killer and no filler, even the instrumental and interlude track felt like requirements and not afterthoughts. Each piece of the VULTURE puzzle got their chance to shine, but I’d like to give a special award to the drumming of G. Deceiver. In closing, lest it be known that as of today, VULTURE’s Sentinels is my album of the year!
VULTURE- Sentinels releases on 12 April, 2024
TheNWOTHM Score: 10/10
VULTURE
The Nwothm 
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