Stallion: From The Dead-2017.


Demo 2013Demo2013
Mounting the WorldEP2013
Rise and RideFull-length2014
From the DeadFull-length2017
Slaves of TimeFull-length2020


See also: Pyre Procession
ÄxxlGuitars (2013-present)
PaulyVocals (2013-present)
Christian StämpfeBass (2017-present)
See also: Moros
Clode SavageGuitars (2019-present)
See also: Invisible MirrorPiranha, ex-Battalion

Past Members:

NikiBass (?-2017)
See also: Pyre Procession
Olli GeeGuitars (lead) (2013-2019)
See also: Sucking Void, ex-Debauchery, ex-Fleshcrawl, ex-Nocturnal, ex-Aliengates, ex-Secret Dimension, ex-Infernal Rising
Underground Society05:16 
2.Down and Out03:44 
3.Hold the Line04:20 
4.Waiting for a Sign05:36 
5.From the Dead05:17 
6.Kill Fascists00:17 
7.Lord of the Trenches05:24 
9.Step Aside03:25 
10.Awaken the Night06:29 

One thought on “Stallion: From The Dead-2017.

  1. CHAIRTHROWER, August 19th, 2017
    Written based on this version: 2017, Cassette, Glory Stables Records (Limited edition)

    Vorsicht! In one word, an apt means of presenting Stallion’s latest, released in June digitally and on limited edition cassette under Glory Stables Records, as well as CD and 12″ vinyl, under the reputable Teutonic workhorse, High Roller. By all means, hop in the saddle as the Germans’ second full-length, a face melting jaunt called From The Dead, storms through the gate at full gallop, in the process stamping (cloven) hoof prints on “new wave of traditional heavy metal” movement.

    Adopting harmless and savvy metal monikers, Stallion’s five members play a revved-up and highly festive form of classic heavy metal in a similar vein as Canada’s Striker and fellow compatriots Blizzen. That said, as much as I dug 2014’s gnarly Rise And Ride, notably “Streets Of Sin”, “Stigmatized” and “The Devil Never Sleeps” (!), mildly prefer From The Dead. For one, the production’s much clearer; secondly, it’s a tad more stylish and concise, sure to please a majority of self-respecting rivet heads on first listen.

    The fierce twin-guitar duo of Äxxl and Oli G. provides spectacularly cheerful and penetrating riffs and leads on each and every track, from a loose and lethal opener in “Underground Society” to its haunting and epic, balls through the wall, fist pumping closer “Awaken The Night”. A frenzied and super pumped battery – Niki on bass/ Aaron on drums – completes the picture while Pauly continues to scorchingly berate a soon-to be addled listener with his raspy upper-ranged excoriations (a definite step-up from past parlays). “Underground Society” is actually one of the faster tracks, definitely qualifying/quarreling as “speed metal” in my book, also paralleling Rise And Ride fare compared to further ones which retain somewhat more accessible flair and illuminated flavour. “Down And Out” plays out like a sharp and unapologetic metal anthem imbued with a rebellious attitude and compelling back-up vocals. It’s got an arresting Cast Iron like main riff which makes me want to spin my head a(g)round.

    As well, its extensive Striker-like lead break is sure-fire, endorphin releasing feel-good moment equalled by its succeeding war cry and potentially preferred track “Hold The Line”, a foot-stamping, head quaking, earth shaking and overall chair propelling dirge of sassy guitar riffs and noggin’ flattening beats. Pauly goes buck with his “Hold The Line, yeeeeaaah!” reminding me of Striker’s Dan Cleary but with a snarky-er attitude and jagged edge. Again, the solos are quicksilver swift whilst the underlying bass line features its fair share of quirky fills and jolts.

    A surprisingly (Austrian) High Heeler/Cauldron-esque, mid 80s-like heavy rock riff and stoic bass line constitute the beer swilling party atmosphere of “Waiting For A Sign”. In (flash) light of Pauly’s chilled out demeanour, dig way this track instils unheralded feelings of freedom and devil-may-careness while its second-half speed metal acceleration reeks of rapid Rise And Ride revelry, also even that of rough(er) n’ tougher Canadian Steele EP (which invigoratingly alludes to Striker) before classic return to form and shockingly rapid (fire) shredding solo – Am throwing devil horns as we wreak…

    A coy and wind-swept Spanish sounding guitar progression beautifully yields the manically sharp triplet infused/ blast beat thundering title track which sees Stallion’s vociferous front man cook up a highly expedient and urgent necro-nomical battle hymn complete with harshly melodic harmonies in true German speed metal fashion. Some of Äxxl and Oli stormiest shredding gives way to the face-planting “Kill Fascists!”, a beheading-by-sword capped seventeen second lambasting assuredly geared towards Deutschland’s dark and forgettable past i.e. supplanted Nazi waywardness. All told, it’s an appropriate introduction to one heck of a ride in “Lord Of The Trenches”, another World War invoking harangue sure to revile a by-now fully engaged listener. The leads are pure gold face-peelery; by the time you catch your breath, take heed of mechanical warfare sounds at their most gruesome accompanied by more gruellingly tight instrumentation by way of smashing drum beats, galloping razor sharp riffs and bouncy but belligerent bass lines. Along with “Down And Out and “Hold The Line”, “Lord Of The Trenches” is a must, although the whole album’s consistent from start to finish.

    An Aerosmith on crank sounding “Blackbox” follows and while unique among Stallion’s catapulting repertoire, it’s still impressive and highly replay-able. I, for one, fancy its harping chorus: “Don’t treat me like a stranger!/ I want to make you scream and shout/ Don’t treat me like a stranger!/ On fire, your turn is running out!” while the super bluesy rockabilly-ish guitar riff at 02:35 really does make me want to scream and shout! The ensuing high wire pentatonic leads would make Joe Perry proud, envious even as they’re that “fiery and cool!” The next-to-last cut, “Step Aside” possesses a fun, Moorhead jangle, whilst chock full of thrilling leads and drum fills.

    It feels like Stallion’s about to embark on same stellar run as Striker, which has released one phenomenally tight and rapacious album after the other. What it’s really got going for it is how the spastically amped up instrumentation doesn’t adhere to any set formula; the boys simply let ‘er rip with reckless abandon.

    (As hidden level of Hell for clods who take selfies at funerals, is payback for those failing to take heed.)

    Vorwarts! Mit mut und kraft!


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