For the past two years, we've been saying things like “Deathhammer is such a classy band, they totally rip, etc. etc.” But looking at this latest album, it turns out all those words were nothing—barely scratching the surface. Just when everyone was expecting something more concrete and lengthier from Deathhammer, Phantom Knights slammed down like an iron fist—not just another old school thrash/speed/black metal hybrid, but pure insanity.
Now, some might say, “Well yeah, Fenriz featured them on a cover, that’s why they got so much attention.” Sure, my respect for Fenriz is immense, but let’s make one thing clear: Deathhammer is doing this all by themselves! These guys cannot be lumped into the typical “retro thrash” bin. Yes, their influences are obvious—Sabbat, Bathory, Venom, early Sodom, Destruction, Kreator—but they are not a copycat band. Some bands are clones of thousands that came before; some bands have no real predecessors. That’s Deathhammer—once again here to spike the alcohol level in your bloodstream.
Note: I’m not sure how many of you read the interview we did with Sadomancer last year, but if you’re following this band, you must already know about their deep respect and admiration for Sabbat and Gezol.
All this chaos is created by just two guys who love drinking cheap beer. Sergeant Salsten handles vocals, guitar, and bass, while Sadomancer ignites the blasphemous flames of thrash metal from behind the drums. High-speed tracks that attack like mad, Slayer-style shrieking piled on top of itself, wild guitar solos that feel like they’re played by a lunatic, relentlessly fast thrash riffs—this album is a riot by two guys who’ve sold their souls to punk and are making noise at the unholy intersection of thrash, black, and speed metal.
Sadomancer absolutely delivers a top-tier performance behind the kit—vicious drum patterns and d-beat destruction make him the driving force that lets this war-energy-drenched album come out victorious. Sharp guitars, electrifying solos, and even NWOBHM-influenced melodic touches give the album surprising variety. Considering the band clearly carries the spirit of giants like Diamond Head, Angel Witch, and Cloven Hoof, that’s not surprising.
As for favorite tracks, I could honestly recommend the whole thing as one cohesive beast. From the opener "Gates of Hades" to the closing "Queen Death," they rarely let up on the full-speed intensity, creating songs that most resemble early Kreator, Slayer, and Possessed. Tracks like "Armoured Assassins," "Ready to Destroy," and "Tornado Blitzkrieg" especially ooze that poisonous ‘80s speed metal vibe through their riffs and rhythms.
If you’re turned off by aggression and savagery, if you find blasphemous themes “too much” and prefer thrash albums full of philosophical rambling, psychological introspection, or slick, progressive Bay Area-style melodicism—then stay away from this album. But if you skip this, you’ll be missing one of the finest real Thrash Metal releases in recent years. Don’t make that mistake. As for the attack, the lyrics, and the production—this album earns a 10 out of 10 across the board.