Ambush - Desecrator

Ambush Desecrator cover
High Roller Records
Ambush (the latter of two bands from Sweden to come under the same name) might have been around for only two years, but that hasn’t stopped them from putting out two albums and an EP, already. Stylistically they are not a million miles away from current Swedish bands like RAM and Enforcer, and as a result the wimpier more rock ‘n roll moments of bands like Judas Priest and Accept. They have achieved a clear production that however seems to lack a bit in terms of dynamics, as well as in heaviness. Also for a band with two guitarists, they seem to be underutilized, with the exception of the odd dual solo. Also while their singer Oskar Jacobsson has no problem hitting some very high notes he does sound somewhat hollow and while his timbre is not bad, sometimes I wish he was a bit more adventurous and attempted to go for some lower stuff as well. The Priest worship ain’t too bad, but while promising the band doesn’t come across as terribly original, even though their musical pedigree helps them avoid some pitfalls that plague a lot of other “retro”-loving bands, ie some key – challenged moments or ripping off, sections of “oldies” and then presenting them as their “own” anthems…
“Possessed by Evil” might have Enforcer looking sideways, while “Night of Defilers” mixes typical 80s Priest fare with a more AC/DC back bone…
“Desecrator” screams Accept riff wise, even though you’ll think that Geddy Lee is doing the vocals, which I’m not too sure, if it’s a good thing or not.
On “The Chain Reaction” the band tries to become more involved and political, so they drop speed, for a rather more introspective number and the album pretty much goes on, in a similar way…
“Southstreet Brotherhood” has some Riot meets Accept charm and while “Rose of the Dawn” begins with an “Fast as a Shark” variant riff, it then proceeds to remind of mid era Riot in a way… among other things. Not half as bad actually.
Master of the Seas” is slower and allows OJ to go for some lower singing – while he’s not as full as he could be, it’s a welcome change and once he should find a more sure footing in the “lower” register, it would be interesting to see what he would be capable of.
“Faster”, obviously, pushes the pedal to the metal, on a speedinous onslaught, while “The Seventh Seal”, which is the final song, also displays OJ’s attempts to work on the lower end of the spectrum. It could have been better, with some less deviance in the dynamics of the vocals, but it ain’t a bad composition overall.
Very promising retro-loving Swedes that could potentially “become” a serious contender. Not bad at all just a little monotonous at times... with the second half of the album showing the band flexing its muscle more and more...