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NIGHTMARE
Encrypted

AFM (2024)
Rating: 6/10

Having existed in some form since the late 70s, French combo Nightmare returns with a new album, Encrypted. This is the 12th full-length studio outing from the band which contains only one original member in the form of bassist Yves Campion. Numerous line-up changes have affected the group since their inception, which in its current formation sees Campion joined by Franck Milleliri (guitar), Matt Asselberghs (guitar), Niels Quiais (drums) and Barbara Mogore (vocals), whose talents were enlisted just two years ago.

The latest incarnation of Nightmare is very much that of a contemporary band that is light years away from not only its origins but its classic brace of records from the mid-80s. In fact, Nightmare has suffered so many line-up changes over the years I’m shocked that they have lasted so long, but such alterations could also be perceived as evolution.

I guess that for some, change is good and when ‘Nexus Inferis’ kicks the album off I can’t help but admire what has become somewhat of a chameleon band. To continue to remain fresh, Nightmare mixes various styles from power metal, thrash metal, traditional metal, symphonic metal and even melodic death metal at times. These elements won’t surprise the devoted fans, but if, like me, you haven’t stayed with the band over time, then Encrypted may appear less inviting due to its polished armour.

New vocalist Barbara Mogore does an admirable job, although again her style may not appeal at all to anyone expecting old school dynamics because the feel here is very, very modern. The title track starts off with some excellent riffing and percussive hammers, but the vocals are tepid and almost poppy.

Due to the overly contemporary design a majority of the songs sound mechanical and soulless. The exception does seem to be ‘Voices From The Other Side’ which has more of a brooding sneer. ‘Wake The Night’ boasts a relatively heavy chug and meaty bass, but there is an all too familiar theme to the track as those lukewarm vocals emerge and tepidly draw us into the ascending chorus.

There’s a lack of power here but then suddenly the combo thrashes on ‘The Blossom Of My Hate’ and Mogore brings her most brutal performance. Sadly, she’s all too quick to revert back to the generic clear tone, but what this song does is confuse yet peak my interest. However, such rumbles of aggression in the singing are all too sporadic. Also, compare this album to previous records and the evolution is slight if at all. Nightmare now sounds like a lot of sanitised heavy metal acts and that’s the harsh truth.

Neil Arnold

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