Review: Revenge “Night Danger”

Release date:17th October 2025

4–6 minutes

Pablo Rumel

The legendary Colombian band REVENGE returns with crushing force to present Night Danger, their tenth studio album released by Dying Victims Productions on CD and vinyl. Formed in 2002, the Colombians have been pioneers in keeping the essence of heavy and speed metal alive in South America, with a career marked by incendiary records and tours that have taken them across the continent and even earned them the distinction of being the only South American band invited to the 70,000 Tons of Metal festival in 2018. Across its eight new tracks, totaling 37 minutes and 45 seconds of pure speed and steel, Night Danger channels the ferocity of speed metal sharpened with the classic edge of heavy, in the tradition of Judas Priest, Running Wild, or Razor, but always with REVENGE’s unmistakable stamp: authentic, powerful, and timeless.

Review

With “Black Sight” the speed metal ceremony begins: a straight rhythmic attack to the vein, with thrash oscillations reminiscent of the San Francisco Bay Area. The Colombians unleash their metallic power directly, without cracks. Esteban’s vocals are clean, leaning toward the mid-range with that characteristic ’80s reverb, though never overdone. The fast sections reveal slight breaks, where the drums play with quick rolls without breaking the metric; the bass follows the guitars at the same pace, and while discreet, it adds some extra rhythmic lines, especially during the breaks. In the final third, the song leans into a semi-galloping section, featuring a fine interplay of solos, somewhere between hard rock and brilliantly executed sweep picking.

What happens if we mix old-school rock and roll with speed metal? That’s what we get in “Night Danger”, a track that kicks off with a piercing solo, sticking to square metrics at the start, before evolving into spiraling passages where the bass takes full advantage, performing rapid figures that remain faithful to the scheme. The vocals move across power chords adorned with brief fills and classic pentatonic patterns, followed by bursts of palm-muted riffs. Without reinventing the wheel, they deliver high-octane metallic energy, with noticeable gear shifts around the three-minute mark, deploying rhythms made expressly for headbanging, accompanied by a heroic lead guitar. A perfect live anthem, with a vibe that recalls the classics of Savatage, Manilla Road, and of course, Exciter.

“The Hammers Fall”: and then we arrive at the sound of the hammer falling. In the lexicon of metal, concepts like “dark,” “night,” or “danger” are common, but throwing in a sword or a hammer always means glory, especially in a track that opens with choppy riffs and pounding double bass drums. Nothing can go wrong, not even its disguised sub-second breakdowns, followed by arena-sized choruses shouted at full blast. The solos bring to mind Kirk Hammett from Kill ’Em All, with sharp sweeps followed by sustained high notes, carried by sheer force and energy. A great piece.

“Soldier Heart” is the shortest track on the album. It could have been a ballad, but no, Revenge is not here for subtleties. The song bursts open with a barrage of fast chords, its rhythm pummeling and violent, with some arrangements that mix gunfire sounds and speedy tapping. The drums don’t evolve much, somewhat repetitive, but never lagging behind in the rapid marches, a demanding playing style not fit for just any pair of arms and legs.

And we arrive at the fifth track of the album, a crucial one, as it marks the point of no return for what the band has already proven. “Misty Night” works as a sort of compendium of what has been heard so far, with choppy riffs, fast double bass sections, and quick breaks. A good song, although it does not stand out from the whole.

“The Devil Race” opens with a crushing high-pitched scream, reminiscent of Slayer’s Angel of Death. The song is fast, using classic thrash and crossover chromatic chords. Without taking risks, it follows the traditional patterns of the style, pushing the pace with solid fills and rolls. Pay attention to the final third of the track, because after a brief silence it resolves with semi-galloping attacks, rapid figures, and a pounding finale that will blow your skull open.

“Desire From Pain” is the jewel of the album. Here Esteban’s voice sounds higher and more reverberated than in other parts of the record. The structure remains unchanged, still fast, with high-pitched solos, pounding rhythms, and chromatic chords, without adding anything new to the album. However, its repetitive chorus makes it more memorable, an ideal track for live shows. Without innovating as a whole, it stands out for its energetic outburst and the sharp, relentless attacks of the rhythm guitars.

Finally, the album closes with “Crushing Death”. It’s fine, though it doesn’t add much overall. The fast tempos are there, the vocals more high-pitched and raspy, the choruses spiraling, the bass lines with little presence. The time has come to deliver the verdict.

Conclusion

It is not an innovative record, but it is clearly a valuable piece for followers of both the new wave of traditional heavy and the new wave of thrash. If you want a general idea of the album, I recommend listening to “The Hammer Falls” and “Misty Night“. With those songs you’ll get a clear sense of whether it’s for you. “Desire From Pain” is another good entry point. Beyond these tracks, it helps that the total running time is 37 minutes, more than adequate for the style.

TheNwothm Score: 7.5/10