From Bandcamp, “This fall, PHANTOM FIRE once again entered the studio, armed with ten tracks and the help of producer and drummer Iver Sandøy. The songs were, as always, played as a band for the first time when the band entered the studio, and everything was done live. This time, two amazing albums were part of forming the final versions of the songs; “Killers” from IRON MAIDEN, and “Ace of Spades” by MOTORHEAD. They are not the first band to be influenced by these albums, for sure, but nonetheless, these albums became guidelines and inspiration for the session. The band wanted to capture the spirit of metal from the past when rawness and the unpolished often defined the production. The unprocessed natural sound of screaming guitars, pulsating bass and thunderous drums played together is what defines the band.”

The album has ten songs, and “Eternal Void” is first, and out of the gate, it has a rocking sound, and is tinged with darkness. For me, it sounds a bit like MOTORHEAD, with harsh vocals, and it’s obvious that this is riff based Metal. “Sleep to Die” is the official video from the album, and it a raucous ball of energy. Thumping bass notes accompany the nasty riff, and harsh vocals fill in the tiddly bits. “My Crown” is heavier, and hears the band at its most aggressive on the album. They drive the riff forward, and straight down your throat. A spastic guitar solo accompanies the song as well. “Fatal Attraction” begins with the firing up of a motorcycle, and it’s our first look at some clean, somber tones. The hardened, distorted riff that follows however is downright bossy.

“Malphas” has a slower grind, with thick, meaty bass notes, and some tension intermixed with the riffs. The bass work is one of the best parts of the album, and it’s often overlooked by many bands. “The White Ship” begins with a slamming drum solo, and many cymbal crashes. The riff is sturdy, and straightforward, and the vocals filthy. The final song, “Submersible Enclosure,” is divided into two parts. The first part features a lot of tension, and darkness, that sort of creeps along the floor.  Part two is more wide open to the taking, but the tones remain dark, and the sky stormy. It’s a short lived instrumental, but it is very effective.

A heavy blues and black metal based album, the thick bass notes are one of the best parts of the album. The band settles on a heavy riff, and just drives it home, like a rocket returning to earth. It isn’t anything overly original, but it comes from the heart, and few bands can rock this much energy in their music.