adg211288 There's something about the appearance of Germany band Vulture's debut full-length album The Guillotine (2017) that just screams old school. It's not an empty promise either, since the music is much the same: speed metal straight out of eighties Germany that is so convincingly replicated in all aspects, especially the production, that you'd be forgiven feeling the need to do a double take and check the album's credentials just to make sure this isn't just some unearthed gem that didn't see the light of day way back when, in the dark ages where the Internet didn't allow music to spread like a wildfire. But no, Vulture have only been around since 2015 and have, to date, a preceding demo and single to their name. The guys in the band are hardly strangers to the speed metal style though, with other band credits between them including acts such as Wifebeater and Bulldozing Bastard.

Compared to those other bands who each mix speed metal with something else such as black metal (Bulldozing Bastard) or crust punk (Wifebeater), Vulture represents a much more 'pure' take on the genre, like the band members took the common element between their other ventures and ran with just that, rarely even delving into more full-on thrash metal. This is to say that the record comes over as one dimensional, but speed metal is the kind of genre that can be gotten away with since out of all metal genres it's actually rarely represented in such a pure form as found on The Guillotine.

Things are kicked off though with some keyboards in what on another album may have been a separated intro track but instead takes up a chunk of the opener Vendetta. The Guillotine reminds a little of the way Blind Guardian's Battalions of Fear (1988) opens in this respect, but unlike with Majesty's quirky circus sounds, Vulture's keys sadly sound a bit naff and the band kind of overdo them here too, going on for over a minute before the guitars finally explode into life. From here the band begin a business as usual kind of approach to their music. Fast and loose sounding riffs that are mostly old school and raw, but with plenty of melodic parts that don't quite push them into the territory of closely related genre power metal. The vocals follow a similar pattern, sometimes rapidly barked and hysterical, sometimes more restrained and sometimes semi-harsh and sometimes with the high register let off its leash. It's a varied performance that comes over as delivered with passion, but I have trouble following the lyrics the singer is spurting.

This goes on until Adrian's Cradle (perhaps a reference to their fellow German's Running Wild and their mascot Captain Adrian?), when the synths return briefly, but then it's back to the usual, at least until the following track, (This Night Belongs) To the Dead, which throws in some acoustic guitars instead. There's a pattern here to how the band diverges from their usual and I don't think it would hurt them to vary their formula up a bit in other ways every so often, since calling The Guillotine a formulaic record overall isn't wrong. Being intentionally old school it's not exactly an original sounding album either, though it makes up for what in lacks in that regard by being packed full of riffs and it does indeed have a kind of nostalgic charm surrounding it that makes it an easy listen for anyone who likes their eighties metal and is sure to put some smiles on faces.

What it doesn't do is surpass those that came before it, but Vulture improving as song-writers will no doubt go a long way to help with that, since individual identity proves the biggest detraction while listening to The Guillotine. It's quite a fun album while it lasts, but afterwards little of it sticks with me. The closing Cry for Death is to my ears the best of the eight songs and the only one I can remember any specific thing about upon conclusion aside from those brief track intro diversions, standing out mainly for its lead melody. In summary The Guillotine is a classic case of needing that extra spark to elevate it to noteworthiness.