REVIEW: KILLER - Young Blood

 

KILLER - Young Blood

Scratch Records

The 1986 album "Young Blood" by the Swiss heavy metal band KILLER stands as a pivotal release in their discography, marking a significant evolution in their sound. Often overshadowed by the more widely known Belgian band of the same name, the Swiss KILLER forged their own path, and "Young Blood" is a testament to their adaptability and musicianship within the burgeoning 1980s metal scene.

Prior to "Young Blood," KILLER's sound, as heard on albums like "Ladykiller" (1981) and "Thriller" (1982), leaned heavily into a hard rock aesthetic, drawing frequent comparisons to blues-infused acts like AC/DC and their Swiss compatriots KROKUS. These earlier efforts were characterized by a more straightforward, groovier rock 'n' roll approach with anthemic, singalong choruses.

However, "Young Blood" ushered in a distinct shift towards a more polished and aggressive heavy metal sound. The album's sonic landscape reveals clear influences from established titans of the genre such as ACCEPT, SINNER and JUDAS PRIEST. This transformation is evident in several key areas. The riffing on "Young Blood" became sharper, more precise, and dynamically richer, often incorporating a driving, palm-muted aggression reminiscent of Accept's Teutonic power. While maintaining a hard edge, the band infused more intricate melodic lines, particularly in the vocals and lead guitar work, echoing the approach of bands like Sinner. Furthermore, the album strongly embraces the New Wave of British Heavy Metal (NWOBHM) ethos, particularly the powerful twin-guitar attack and anthem-building prowess often associated with Judas Priest; the overall "metal anthem" feel is far more pronounced than in their earlier material.

A significant factor in this sonic evolution was the album's lineup, featuring Mark B. Lay on vocals, Jan van Crow on guitars, Martin Morelli on bass and Ronny Woolf on drums. Jan van Crow's guitar work, in particular, is a standout feature. His solos aren't merely displays of speed but are carefully constructed with a strong sense of melody and phrasing, adding considerable depth and excitement to the tracks. His riff craftsmanship provides a solid, powerful foundation throughout the album.

Key tracks that exemplify this refined heavy metal sound include the title track "Young Blood", the driving "I Want It" and the powerful "Heaven and Hell." Beyond these, "Wild Boys" demonstrates the band's capability for energetic, pure heavy metal anthems, completely distinct from the Duran Duran song of the same name released around the same period. "She's a Crazy Driver" further showcases KILLER's ability to combine relentless rhythms with compelling melodic hooks.

Visually, "Young Blood" also makes a strong statement. The album cover, featuring a flaming iron arrow piercing an exposed, mechanical heart, immediately draws parallels to Accept's iconic "Metal Heart" album cover released just a year prior. Both artworks share a central "metal heart" motif, an industrial aesthetic, and themes of power and resilience that were prevalent in 1980s heavy metal imagery. Whether a direct influence or a reflection of the era's shared artistic sensibilities, this visual connection effectively complements the album's powerful metallic content.

In conclusion, "Young Blood" represents a crucial turning point for the Swiss band KILLER, moving them firmly into the realm of traditional heavy metal. Its strong songwriting, powerful performances, and notable guitar work make it a compelling listen for fans of 80s European metal, solidifying its place as an important, albeit sometimes overlooked, chapter in their legacy.

Nick Parastatidis