Release date: 27.03.2026

Label: Jawbreaker Records

Review

“Satán” opens the record with a sharp riff and a lead guitar that draws a combative melody. The vocals are high and torn, full of eighties reverb. The rhythm is fast and avoids excess fills, only marking the chorus. Everything sounds raw. Dirty guitars. A voice with punk attitude. Rhythmic patterns move from direct heavy metal with palm muted lines to flashes of violent rock and roll. This feels close to a South American heavy metal punk spirit.

“Marken Brinner” unfolds in two sections. The first part is direct and stripped down. Strong drum attack. Lead guitar harmonies merge with the rhythm and return as simple but effective melodic lines. The second part shifts to a mid tempo. Power chords define the verse and chorus. The ending pushes into double bass speed. One of the strongest tracks on the album and a clear entry point into the band.

“Kom An” shows the punk attitude with more precision. The focus is on strummed guitars with a direct downward attack. Brief silences are filled by bass and drums. The bass plays a functional role and adds weight. The lead guitar uses blues based scales with solid execution and restraint. This is likely the most defining track. Drums sound like war marches. Pure rage. Rhythms touch hardcore and move close to crossover thrash.

“Döden” covers the most warlike and combative side of the album with driving rhythmic riffs. Arpeggios and deep bass lines add more range to the sound. The song returns quickly to heavy metal with a punk vibe, close to what Iron Maiden did in its raw form. The bass, handled by vocalist Aron Torstensson, takes a more prominent role. The guitar duo of Eric Björklund and Edward Pancetti works well together. They alternate solos and rhythm phrases. They add twin guitars, simple counterpoint sections, and keep the heavy core of the music pumping

“Sfinxen” begins with slow arpeggios and grows into a long epic charge. Fast chords and short breaks shape the structure. The vocals stay in a mid range with a furious tone. Not a virtuosic voice but it fits the primitive style. The guitar solo is weaker. It aims for an epic feel and sacrifices speed and technique. Not the best track but it could work well live due to its warlike development.

“Sfinxen” begins with slow arpeggios and grows into a long epic charge. Fast chords and short breaks shape the structure. The vocals stay in a mid range with a furious tone. Not a virtuosic voice but it fits the primitive style. The guitar solo is weaker. It aims for an epic feel and sacrifices speed and technique. Not the best track but it could work well live due to its warlike development.

“Ljuva Midnatt” shifts the tone. The record moves into a more dramatic space. There are speed variations but the metal structure remains. Drummer Robin Bidgoli delivers strong dynamics. Solid attack between snare and kick. Good use of cymbals. The style stays direct. The influence of Motörhead and Venom is clear. This is far from progressive or technical metal.

“Vigilanten” is the shortest track. Less than three minutes. Not very inspired but full of rage. It could sit in a crust punk compilation. The band drops fills and focuses on simple chord patterns. Slides across the neck drive the motion. The song leans on the chorus, the solo, and the mosh factor. Simple and direct. Classic heavy metal listeners will understand its place.

“Transylmani” goes for a speed metal structure with thrash power. Strong use of single string palm mute bursts and raw dissonant notes. These patterns give some flexibility to a record that is often rigid and repetitive. The band avoids collapse through sheer energy. The howls in the chorus and the main riff carry the track. A more aggressive solo adds edge. This is the jewel of the album and a clear live weapon.

“Skuggan” enters with a fast drum roll. Clean melodic lines soften the surface without losing weight. The guitar work is simple and effective. The 4/4 rhythms stay alive through constant drum details between sections.

“För evigt märkt” closes the album with a slower pace. Less density. The vocals aim for desperation and a hymn like feel. The composition flows and mixes epic and street elements. It does not reach the highest points of the record. It could work live but it is not among the strongest tracks. A short interlude before the solo adds drama. The fade out at the end feels like a wrong choice and weakens the visceral identity of the band.

Midnatt follows a direct formula. The compositions tend to repeat and the execution favors rawness over virtuosity. One track next to another sounds similar. This could be called unity of style but only three or four songs stay in memory.

Despite the limits and a moderate score, the musicians show solid command of their instruments. They pursue a raw approach that connects with classic forms of the genre. Street level fury and feeling drive the music. This band writes from instinct and emotion. The references to Venom and Motörhead are earned. The sound also aligns with current South American acts such as Inoxidables, Axe Steeler, and Hyena. These are musicians who do not come from academic training. They aim to capture chaos and destruction. That is not easy work.

TheNwothm Score: 7.5/10

Links

Bandcamp: https://midnatt.bandcamp.com/album/metallisk-hetta

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

Label: https://www.jawbreaker.se/