After five albums and fourteen years in existence, Germany’s Heaven Shall Burn are back with their new album titled Invictus (Iconoclast III). Having been a fan since Asunder, anytime the band released something new my ears perked up. After feeling like 2004′s Antigone was an absolute masterpiece, I was extremely disappointed in 2006′s Deaf To Our Prayers and my interest again peaked with 2008′s Iconoclast (Part 1: The Final Resistance). With Invictus being the final chapter in the Iconoclast trilogy, could they regain my faith or would it be the final nail in the coffin?

Just like previous albums, Heaven Shall Burn open with an intro full of beautiful piano and string arrangements that sound as if they were played by angels themselves. Just as Heaven’s Gates are open, you are greeted with the boiling breath of Satan himself known as “The Omen.” Vocalist Marcus Bischoff’s trademark gnashing of teeth style is in full force while the band decimate your mind with slaughtering guitars, insane drumming and big time grooves. This song is like going out on a date with “Mr. Right”, only to find out that he’s also a serial killer. He wines and dines you, making you all warm and fuzzy, just to hit you with a hammer and chop you up with an axe. This song is a sick and twisted gem that will be on a constant loop in your mind.

Like a freight train bearing down, come juggernaut tracks like “I Was, I Am, I Shall Be”, “Sevastopol” and “The Lie You Bleed For.” Axe-grinders Maik Weichert’s and Alexander Dietz’s fret work is impeccable and extraordinary to say the least. These are two guys that certainly deserve more attention than they get. “I Was, I Am, I Shall Be” opens with blinding Carcass style (Heartwork-era) runs that would bring Bill Steer (Carcass) and Michael Amott (Carcass, Arch Enemy, Spiritual Beggars) to their proverbial knees. Adding to the masterwork is Matthias Voigt’s remarkable skins work that features staggering double bass and incredible grooves. Once again, Bischoff’s voice is like a fine tuned instrument of destruction, laying the groundwork for total devastation. “Sevastopol” features pounding drums, huge melodies and grooves bigger than Danzig’s ego. Another thing that always drew me to Heaven Shall Burn is their ability to integrate such rich harmonies into absolutely ravaging music. Electronics run amok in the opus “The Lie You Bleed For.” Voigt’s double bass and snare blast are integrated with layers upon layers of melodic six strings and hellacious vocals. About three quarters way through the song, there is a section where the band channel their inner bearded, axe wielding, loin cloth wearing Nordic brotherin, Amon Amarth, which is pretty cool indeed.

My major complaint with Invictus lies in the structuring of many of the tracks. Songs like “Combat”, “Buried In Forgotten Grounds”, “Return to Sanity”, among others basically open with the same violent double bass that runs throughout the verses. I know this may just be preference, but if this is your first introduction to Heaven Shall Burn, you might find it to be a little too repetitious. I’ve always found that their songs come off much more devastating by switching up patterns, never really allowing the listener to catch their breath. It’s all in one’s taste, and if you don’t mind loads of it, you’ll definitely get more bang for your buck with this record.

Closing out the album is “Given In Death” which features Deadlock members Sabine Weniger (vocals) and Sebastian Reichl (guitar). The track begins with smooth, clean guitars that are accompanied by strings and Weniger’s winding celestial voice. Being honest, with the meshing of the two bands styles, the track comes off a total mess. Mixing the ultra clean verses with her voice is one thing; but once the track kicks in, Bischoff’s distinct chords along with Weniger’s singing sounds like a complete train wreck.

Simply put, Invictus is an album tailor made for diehard Heaven Shall Burn fans. If you’re looking for Antigone Part 2, you’re not going to get it. But, if you’re wanting Iconoclast with Antigone elements here and there, then this is one you’ll want to pick up. My only concern is that with such a brutal sound and very little deviation, newcomers might find the album somewhat uniform and colorless. In the end, Invictus is a really good record, but not a really great one.

3.5/5