ALBUM REVIEW: Godslave - Champions
Kicking off with Limp Biscuit’s Full Nelson with a bass tone from Michael ‘Mika’ Koch that punches through, and the vocal delivery from Thomas ‘The Slavegrunter’ Pickard which I enjoyed more than the original from Durst, makes for a heavier and more aggressive version of the track. Trivium's To the Rats follows with Bernhard ‘Bernie’ Lorig and Manuel ‘Manni’ Zewe tight chugging riffs and solid production, setting the tone for the album’s thrashier moments. The chorus will have you unconsciously shouting along, "Break every bone in your face!", like I did whilst I was walking down the street. Probably getting weird looks.
The album takes a bit of turn with Carrie White, originally by Warhead, featuring a telephone-effect intro and cleaner piano-key bass tones. The kick drum patterns stand out, adding depth to the track. Nepenthe (Sentenced) brings some melodic moments, particularly in the solos and the vocal approach matches, if not surpasses the original, especially the backing vocals which bring a more haunting atmosphere.
Punk influences shine through on NOFX’s Don't Call Me White and Land of the Free (Pennywise), both retain their raw energy but infused with Godslave’s thrash intensity. The drumming from Tobias ‘Tobi’ Huwig is fast and tight, and the guitars bring an extra layer of aggression to these punk classics.
Hard as Iron (Judas Priest) is an ambitious choice. Musically, it's spot on, but the vocals struggle to match Halford’s range, with a noticeably stronger German accent.
Another that doesn’t hit quite as hard as other tracks, is Twisted Sister’s Stay Hungry, but that could be more a matter of personal taste than a fault in execution. Stormrider (Iced Earth) is a highlight, bludgeoning from the start, with vocals that suit the track perfectly. The bridge is especially strong, and the crunchy guitars capture the original's raw power. Next up is Totmann (Cripper) which builds an eerie atmosphere with tribal drumming and siren-like lead guitars, while Nightrocker, originally by Knight Rider himself, David Hasselhoff, leans fully into its cheesiness—an odd but strangely memorable inclusion. Well, he was big in Germany in the 1980s so bound to have been a bit of an influence.
Nails in Me Deep, originally by Whiplash and Offspring’s Cool to Hate keep the energy high, the latter featuring chanting backing vocals and crunchy guitar tones that give it an extra punch. Chokehold (The Haunted) brings a Slayer-esque Undisputed Attitude feel, with aggressive riffing and a vocal style that fits the song well.
Some tracks feel less essential, like Sucker (Motörhead), which isn't the strongest Lemmy song to cover, and Rocky (Dog Eat Dog), which doesn’t stand out as much as others. The Uberslasher tracks part 1 and 4 (F.K.Ü.) are short and don’t leave a lasting impression. Seelentherapie, originally recorded by Die Toten Hosen serves as a nice homage to a German classic, closing out the album with a nod to homegrown influences.
Champions is a fun, diverse, and sometimes bizarre ride. While some songs fit their style better than others, the band’s passion is undeniable. Their thrash-metal backbone shines on tracks like Stormrider, To the Rats, and Chokehold, while their forays into punk and alternative metal are hit-or-miss depending on personal taste. The biggest surprises, Full Nelson and Nightrocker, might divide listeners, but they add to the album’s charm.
If you're a fan of Godslave or enjoy hearing thrash bands, such as Metallica and Anthrax, put their spin on unexpected classics, this is worth a listen. If nothing else, it’ll have you asking: "Did I just headbang to David Hasselhoff?"
Champions is released on 14th March via Metalville
Review by Rich 'Tricky' Hudson
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