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REAPER
An Atheist Monument

Massacre (2014)
Rating: 7.5/10

Since their inception in 1984, German metallers Reaper has been plagued by personnel alterations, but as a unit have still produced five solid records, including this latest release, An Atheist Monument, which marks some 30 years in the business.

Founding members Daniel Zimmermann (vocals / guitar) and Matthias “Mäfju” Kraft (bass) are joined in the current line-up by Jan Breede (drums), who has been with Reaper since 2001, and newest member Benni Meike (guitar), who was recruited in 2010.

In spite of the early 90s being reasonably productive for the band, them releasing two records – Beyond All Time (1990) and The Years Within (1992) – the band decided to change vocalist in 1995, with Zimmermann taking over from original frontman Thomas “Benny” Bennecke. Since then, Reaper has not looked back and in spite of sporadic releases – Cardinal Sins in 2000, followed by Gardens Of Seth in 2009 – they’ve maintained a cult following due to their hard work and steely music.

With An Atheist Monument the band offers 12 tracks of melodic metal well-versed in old school aesthetics but in a sense contemporary by design. The result is a surprisingly riveting record that begins life with the truly staggering ‘Hetoimasia’, a glorious instrumental of pounding drums and infectious melody. From then on it’s a molten metal experience that comes rushing like burning lava in the form of the charging ‘Realms Of Chaos’. Strangely, due to the marvellous musicianship I’m almost reminded of an instrumental metal album until the gravelly vocals emerge from the fire. The band is a versatile machine that opts for thrashier moments fused with bruising power metal and traditional dynamics.

When one hears a metal record in any climate one expects the artist in question to provide sterling guitar solos, catchy, heavy riffs, convincing percussion that provides a furious backbone, a bone-breaking set of bass lines, and above all a strong vocal performance; and with this opus, Reaper succeed on most fronts. In fact, my only issue is with the vocals. That’s not to say that Zimmermann is not capable, as his bear-like howls and growls are ideal for a majority of metal records, but because the sound of Reaper is one so classic and meaty I would have preferred a classic, power metal wail every now and then. But hey, you can’t have it all ways.

Even so, in spite of my minor grievance this is a very good metal record that is heavy metal from its heart, through its blood and up through its bones. When one experiences the melodic menace of the chugging ‘Of Sheep And Shepherds’, my point is valid in regards to the issues I mentioned, and yet elsewhere, like with the crushing ‘Voice Within’ or equally evocative ‘Well Of Poison’, we are clearly dealing with a criminally underrated and above all powerful metal act who should finally garner the attention that so rightly deserve. And while I don’t expect Zimmermann to give up the ghost vocally, I do hope that a few tweaks here and there should rid the act of its at times epic, but somewhat cheesy edge in favour of an all-out metal assault.

Neil Arnold

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