Release date: 28th March 2025

Girder, a band formed in 2023, half Brazilian and half English, kicks off their album like a punch to the face: guitars on the edge of saturation, a furious vocalist, and a band that isn’t afraid to mix punk, thrash, heavy, and even rockabilly. From the very first track, it’s clear this is not a band interested in sounding “polished”: they’re all about attitude, boldness, and a raw passion for metal in all its forms. The album moves seamlessly between styles without losing coherence, always betting on raw energy and risk.

Review

Headbanger Ball: A short, sharp opener, with guitars teetering on distortion and very thrash-inspired attacks; the dragged-out rhythmic sections enhance the streetwise vibe, with raw, guttural choruses breaking up the vocal phrasing of singer Metal Dress, who leans into a messy, shrieking style—pure punk rocker attitude. The guitar solos are melodically developed, with a classic rockabilly rhythmic undercurrent that adds originality to the track; tempo shifts with prominent bass lines set the tone for this excellent start.

Killers of the Night: The title says it all. Mid-tempo riffs and clean intervals give a theatrical touch to the vocal lines; the choruses are catchy and the slower pace allows the guitar solo to explore bluesy tones. This is a road song, reminiscent of hard rock classics from the golden era.

6:30: A Sabbath-style song through and through—heavy sections, spiraling riffs, and low-end tones create the perfect atmosphere for the vocal duet between Iron Paul and Metal Dress. Here the drummer shows off his versatility, confidently handling the slow marches intertwined with mid-paced sections. The double bass pedal work is precise and adds extra groove to the track. Metal Dress’s screams and tonal shifts showcase a range that moves from deep lows to piercing highs, somewhat reminiscent of King Diamond: not the cleanest or most technical, but she hits the right notes, sometimes pushing them hard, showing off her trademark versatility. A great track.

Fire to the Real: The song begins with epic choruses and choppy Judas Priest-style riffs; the slightly syncopated rhythm section adds variety to the album, as does the surprise appearance of a “beauty and the beast” vocal formula, with raw phrasing alternating with clean tones. Metal Dress is at her best here—fresh, unleashed, and furious—delivering a dramatic interpretation that makes this a memorable track.

City Dealer: Kick drums and cymbals act as an overture; then the bass lines sketch out the opening riffs with gallop and a rocking vibe. The guitars follow suit with pure AC/DC-style party attitude; open chords with plenty of seasoning give this track its flavor. The hard rock turn is a welcome twist, adding more variety to an album that juggles many genres without breaking its core tone.

Rekindle the Flame: Clean, well-played riffs open a track with a very different vibe: a rhythmic base reminiscent of Brazilian samba (syncopated, dynamic, and percussive patterns) unfolds in the first section before transitioning to martial-style beats. The song moves into progressive territories, using heavy chords and palm-muted sections; the chorus is sung in duet, with an epic contour that suddenly morphs into black metal phrasing. Yes, from samba to black metal in just one step! Metal Dress delivers wild, insolent growls as a fast-paced structure takes control of the song. Complexity, mystique, and technique put this track at the top of the album.

Bad Charlie: Bass lines that recall the outstanding work of Overkill’s D.D. Verni introduce this pure heavy metal track, with fast-paced classic thrash sections. The bass-drums duo takes this raw, party-ready, ’80s-flavored song by storm, its structure reminiscent of Kill ‘Em All or early Megadeth. One of the most headbangable songs on the album.

Metal Changed, Not Me: This track is a bloody joke—in the best way. Death, black, and thrash sections unfold like a massive tribute. The lyrics are humorous, a call to chaos, disorder, and anarchy. Drums, bass, and guitars form a whirlwind of death and destruction, an ode to metal that feels like a dark ritual of smoke and killer riffs. Hilarious and hard-hitting.

Girder: More thrash metal with a traditional heavy metal structure; sardonic lyrics, Dead Kennedys- and Sex Pistols-style choruses, furious gang vocals, all wrapped in a solid metal horned beast with a lot of rock ’n’ roll. The track is pure mayhem, with guitar solos that even dare to bring in whammy bars, paying tribute with their cadence to immortal classics like Diamond Head or Killing Joke. A brilliant closer.

Conclusion

This album is a shout, a celebration of well-executed chaos, where virtuosity hides beneath a layer of sonic grime and street attitude. Girder isn’t out to please or sound modern: their approach is direct, diverse, and combative, with moments of brilliance both technically and expressively. If metal has changed, as they claim in their penultimate track, clearly they haven’t. And that’s for the best.

TheNwothm Score: 7.5/10

Links

Bandcamp: https://girder.bandcamp.com/album/girder

Facebook: https://www.facebook.com/profile.php?id=61551896919110

Instagram: https://www.instagram.com/girderband

Label: Not on Label