NightmareFrance’s Nightmare are no strangers to the Metal scene. In the early 80’s they released two commendable albums on Ebony in a NWOBHM (or WOFHM if you prefer…) style as good as anything else on the Yorkshire-based label at the time. They even bagged a high profile support with Def Leppard around then but eventually disbanded in 1987. After reforming in 1999 – unveiling their current darker Power Metal style stated with 2001’s “Cosmovision”, each subsequent release has built on that. One additional note that I like is that original drummer Jo Amore moved to vocals in 1999 onwards (to great effect too!) and brought in his brother David to fill the drum stool. I said I liked the fact, I didn’t say it was interesting…

But “The Aftermath” IS interesting! I thought “Cosmovision”, “Silent Room” and “The Dominion Gate” were fine examples of the band stating the style of Metal band they would have evolved into if they had not disbanded. The past two releases have expanded on this, though sneaking in a few overtly modern (possibly hinting at times on the ‘Nu’ as our very own Monsieur Gizmeau pointed out in his excellent review last year) touches. They are all very enjoyable albums, but this is the first one I have had to review. So now, finally, I have to confront the question that has bugged me about them for the last 12 years – Who the bloody hell does their singer remind me of??? The record company are pretty keen to point out a Dio comparison, and if you think Sabbath’s “Dehumanizer” then yes, there’s some of Dio in there. But the music is heavier, so the vocals have a more strained (in a good way) to them. Well, it took a few listens (pausing after every line that sounded familiar…sad and obsessive I know…) but I think I’ve got it. It’s probably Lion’s Share/Astral Doors vocalist Nils Patrik Johansson, but crossed with David Wayne (Metal Church/Reverend) and on their heavier moments, Flemming Ronsdorf (Artillery circa “By Inheritance”). Now I can sleep tonight…

This vocal style accounted for, Nightmare’s sound falls into place too. A modern moniker of Dark Power Metal is OK, but really, on “The Aftermath” Nightmare are a rather splendid example of 80’s Speed Metal with a modern production, a dark undertone and a great ear for melody. If Metal Church’s “The Dark” had this production it might possibly dislodge an ear or two and Nightmare seem to have realized this. The 1st two tracks (after the cool orchestral intro – great cello riff!) are a fine example of this Melodic Speed Metal style, possessing excellent riffs, power-house drumming and memorable choruses. 4th track ‘Necromancer’ however, is akin to anything Nevermore have produced! If you are unfamiliar with the band it comes straight out of nowhere – “Oh, by the way, we can do this too!”. It’s always been apparent from the word go on previous outings but it’s almost held in reserve this time around. ‘Ghost In The Mirror’ has more than a hint of Nevermore too, and the fact that the band have this style to scatter into other tracks is a real bonus, rather than starting with Nevermore and diversifying – a much better approach. And just to show other sides, ‘The Bridge Is Burning’ has the orchestral leanings of Savatage with the power-punch of Holy Mother (which I never thought I’d hear!), ‘Digital DNA’ reminds me of Vicious Rumors and ‘Alone In The Distance’ had me pleasantly recalling Wicked Maraya’s one great album.

Nightmare have really stepped it up this time around. Previous releases have led here. Which you would hope and expect, but it’s really great to hear a band of this age totally at ease with their sound, yet not prepared to rest on it. To keep pushing, to keep absorbing the elements of more modern Power Metal and personalizing it into their sound. As I said in my recent Helstar review, nostalgia is all very well, but to be interesting, edgy, current AND retro over 30 years later takes talent and open-mindedness. This is something Nightmare display to great effect on every thoughtfully crafted track that “The Aftermath” has to offer.

(7.5/10  Andy Barker)

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