WARDRESS is a German Metal band paying homage to the greats from the 1980s. Not only are they a prominent New Wave of Traditional Heavy Metal (NWTHM), they've been playing since the 1980s and stay true to the style. If you're a fan of 1980s Metal, you may enjoy them, barring some hit-or-miss techniques.

"Prelude to War" is a monologue opening the narrative of the album: a soldier and his company are about to be betrayed by one of their own. The melody that follows conveys the concept by starting out as a soft march, then exploding into a heavy, relentless riff and hard drums.

 "Wardress" lets the listener know that this will be a classic Metal-style album. Then, the vocals come on. While they're clear, they're spoke sung and froggy to the point where I wonder if Kermit the Frog went into Metal. However, when the chorus hits and he actually sings, his voice is fine. Other than that, it remains a typical Metal song throughout; that said, the production is clear to the point I can hear each element even on my crappy laptop speakers.

"Thou Shall Now Kill" has some subtle symphonics in the beginning with keyboard chords scattered here and there. The vocals creep up on you, and here, they are great. The singer is clear and for the most part, when he stylizes his voice, it's not cartoonish. The instrumentals here are a little lackluster in the verses, however, the melody changes between the verse, the chorus, and the guitar solo keep the song engaging. I enjoyed this song more than the last one due to the variety in the melody and the vocal stylings didn't make me want to gouge my eardrums out!

"Mad Reaper" has a soaring, speeding melody that gets the listener pumped. This is one of those Power Metal songs that makes you feel like you're riding a dragon and barbecuing the landscape below. The back-and-forth in the chorus between the vocals and the guitar is a captivating touch, and the sweeps in the guitar solo are solid. The refrain reverts back to the speak-singing in the second song a little, which can be distracting.

 "Metal Melodies" is a standard anthem and while it has some great technique in the guitar solo (actually, the guitar solo is the highlight of the song), there's nothing noteworthy; it's your run-of-the-mill ode to Metal. The characterization in the vocals is over-the-top and again borders on cartoonish, but it works with the song. Like most other Metal homages, this would be a fun song at a concert.

"Dark Lord" starts slow and melodic, like a ballad, but then it rockets into an intense melody after the first verse. The melody changes through the song keep the song moving. The vocals are solid throughout: they remain clear and operatic, and the vocal characterization, when it's done, is done well.

"Betrayal" is where the concept introduced in the first track rears its thematic head. The same riff is used in both songs. The vocal style is heavy and low, matching the intense riff, and lyrically, it continues the story of the first track. As a song, the vocal quality is mediocre and the instrumentals feel repetitive.

"Atrocity" picks up the pace with a pounding melody and a ghastly tale. They reinforce the theme with low, almost monastic choir elements. The vocals are better here, even when they're characterized, and the instrumentals have more variety, including harmonies and good technique in the guitar solo.

"Wehren" starts off with a heavy, but distinguishable riff. While the riffs in each part of the intro seem repetitive, it's pierced by a squealing guitar line that adds some variety and harmony. It's a long song, so the random guitar squeals, subtle changes in instrumentation, and the total melody change after three-and-a-half minutes for the guitar solo are sorely needed to keep the song fresh. It works, but the melodies used are still standard for the genre.

The final song, "Metal League" is another Metal anthem. The very beginning reminds of POISON's "Nothing but a Good Time" before evolving into a JUDAS PRIEST/IRON MAIDEN cross-over. The characterization can be more pronounced, but still sounds vocally acceptable. Again, I can see this song being a fun concert jam, complete with clapping and call-and-response.

The album is set up like a concept album, but it doesn't feel like one. The songs feel like a medley of 1980s-sounding tunes. Some elements are hit-or-miss such as vocal characterizations, but overall, if you enjoy traditional Metal, you will like this.