If you've seen the album cover or the names of the songs on German Thrash/Death/Action Metal band THE PROPHECY 23's newest album "Untrue Like A Boss", then you probably already have a fairly accurate idea of their mentality. These guys are here to put a smile on your face and get your foot/head moving, and the good news is that their latest offering does just that.

Each song blasts its way through the speakers crystal clear and well mixed, thanks to some excellent technical work by the boffins behind the band. This leaves the musicians free to go as crazy as they want, and they don't waste the opportunity. The album brings bass solos, acoustic jamming, dubstep death growls and even bongo drums. There are times when the members interject with some spoken banter between themselves, or an epic Hollywood-style introduction to the song which just adds to the comedy value and gives even more character to the band.

The first couple of tracks make it clear that the balance between Death and clean vocals is key to their approach, as one often follows the other. The third song, "Party Like It's 1984" is one of the stronger on the record as it brings a cathartic energy to it reminiscent of ANTHRAX, with group singing and anarchic lyrics. "Untrue To The Bone" opens with a hilarious parody of someone hating on the band and accusing them of selling out. Later, the bass solo and a pair of bongo drums become the highlight of the track before moving onto "Video Games Ain't No Shame", a no-holds-barred onslaught of death growls of the words "Video Games", which honestly is just damn funny to hear anyway.

An unusually memorable song is "Bass Player", which works almost like a short play with the Bass player seemingly taking over everyone else's instruments. In between the arguing, sound effects and powerful chorus it's impossible not to wonder how they'd play this song live.

While we're on the subject of gimmicky tracks, "Fuck The Dub" is clearly a "why the heck not" moment during the writing process, as it is literally just over a minute of death growling over a dubstep track. It's fun and creative, but it's hard to see listeners returning to it that often. Similarly, "The Ballad of SOD", a 9-second long guitar riff with a bit of drumming comes across slightly strangely and serves as more of an intro for the beautifully nonsensical "Pablo The Peacemaking Pizza".

One of the definite standout tracks is the Metallised rendition of "Arriba Abajo", the classic Mexican song that everyone recognises when they hear it. It works surprisingly well, and serves as a sublime outro to an album that surprises in plenty of other ways as well.