[Album Review] Grave Robbert's 'The Nightmare Begins' Delivers Shock-Rock From Sweden

October 21, 2019

Grave Robbert is a Swedish band showcasing their love for horror with a lot of different '80s metal backgrounds being represented. Their latest album, The Nightmare Begins, is not only theatrical, but showcases such a great variety of songs to keep you interested and then throw it on repeat.

 

"Close Your Eyes" introduces the album and features string instruments, such as violin, along with a piano, and a female voice, clear. The song is full of questions for a hopeful future, but ends with a warning that the Nightmare is beginning tonight…

 

"The Nightmare Begins" is a dark/glam '80s style song with an intro that builds very rhythmic with backup vocals that are both eerie and haunting. The song's aesthetic and guitar sound is very early '90s Alice Cooper. The multiple '80-influenced mini solos were also super catchy. My first thought was 2000’s Faster Pussycat –esque.

 

"Genocide" is a song I’d love to see performed live given it’s so energetic and straight to the point. It’s an easy song to head-bang or mosh to. The beginning has a distinctive, upbeat tempo that I really dig. The track has a great driving melody throughout, and showcases a lot of skilled guitar writing from Grave Robbert. I have definitely been moving to this a lot already. The song features a really cool harmony overlaying another super catchy melody for the guitar solo. I honestly love the format of "Genocide" as a whole.

 

"Stand Alone" showcases the variety in the vocalist’s skills with a more Marilyn Manson-style vocal sound. I really appreciate bands that don’t always sound like a cookie cutter of themselves. The song is vastly different from any of the other tracks up to this point. I love the different textures to each song from each other. The Nightmare Begins featured enough smart writing decisions to keep me interested in each song including this one.

 

"Descending" is my favorite track. The intro drowns us with creepy audio effects and a haunting aura. Robbert's voice is soft, like he’s showing respect in a graveyard. The tempo and instruments have a super cool pick up and even catchier guitar riffs than "Genocide". It somewhat reminds me of the climatic end of the "Phantom of the Opera" song. I love the respect for heavy bass in this song and the spotlight it receives. It makes this song even easier to dance to. The end is slightly repetitive, but not a complaint, I like the steadiness, like Judas Priest songs. I love the whisper of, "Someone get me outta here," at the end.

 

"Neglected" has a solemn beginning with a violin and guitar with the vocalist speaking out, questioning his circumstance. It reminds me of slower Alice Cooper songs, like "Only Women Bleed".

 

"The Ecstasy of the Night" has a great power duo guitar intro, similar to Dragonforce in tuning and guitar diversity. Love the intensity of the drums. The verses have a great running riff, and whole song has a solid tempo. There are different theatrical elements that I found peculiar and intriguing to the story being told. "The Ecstasy of the Night" has dynamics of uptempo, fast-paced, thrash with power metal elements. There are numerous change ups with the melody. This is definitely a solid song that you’ll enjoy!

 

I really love the melody in "Down", there’s different theatrical, metal and sonic elements working together. Also, there are a variety of awesome musical pieces to switch the song up in different sections.

 

Shock rock is definitely making a comeback, with obvious influences from the king, Alice Cooper, as well as some Marilyn Manson and Murderdolls/Wednesday 13. I’m sure that a Grave Robbert show is a fun one to attend, and I’m looking forward to a U.S. tour in the future! I just adore horror acts with an older sound and unique aesthetic! I also really love the continued diversity, yet cohesiveness between all of the songs that really keep The Nightmare Begins interesting throughout.

 

The Nightmare Begins arrives on October 25th from LMH Records.

 

 

 

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