- Tankard’s “Kings of Beer” album, released in 2000, stays true to traditional thrash metal, serving as a nod to their fans and the genre.
- The album is unique for its humor and range of themes, from social critiques to a love affair with beer.
- Notable songs like “Flirtin’ with Desaster” and “Kings of Beer” have become crowd-pleasers in Tankard’s live performances.
A Traditional Thrash Salute
Tankard, hailing from Frankfurt, Germany, has been a staple in the thrash metal scene since their formation in 1982. When they released “Kings of Beer” on July 27, 2000, they were already veterans in the game, boasting a discography that had garnered a loyal following. This album followed their 1998 release, “Disco Destroyer”, and marked a continuation in their collaboration with producer Harris Johns. Johns, whose resume includes work with other thrash giants like Sodom and Kreator, brought his expertise to the table, capturing Tankard’s signature sound with clarity and punch.
The year 2000 was a pivotal moment in metal music. The genre was splintering into numerous sub-genres, and nu-metal was rising in the mainstream charts. Amidst this landscape of change, Tankard chose not to deviate from their thrash metal foundations. This decision was intentional, serving as a nod to their fans and an affirmation of their identity. While many bands were experimenting with electronic elements and alternative tunings, Tankard remained committed to their roots, delivering an album steeped in traditional thrash elements.
Furthermore, “Kings of Beer” arrived at a time when Germany’s metal scene was undergoing its own evolution. The country, already known for its contributions to power metal and Neue Deutsche Härte (New German Hardness), was also a breeding ground for thrash acts. Tankard, therefore, not only upheld their own legacy but also contributed to the rich tapestry of German metal.
“Kings of Beer” wasn’t just another album in Tankard’s discography. It was a statement, a declaration that, even in an era of change, there was still room for good old-fashioned thrash metal. The album served as both a tribute to the genre and a reaffirmation of Tankard’s place within it.
Beer and Riffs
The music of “Kings of Beer” can be best described as thrash metal enriched with Tankard’s individual flair. In the realm of thrash, guitar solos and pounding drums are par for the course. Tankard, however, elevates this with intricate guitar work, often employing dual lead guitars that add a layer of complexity to their sound. Drummer Olaf Zissel brings in some intricate rhythms that go beyond the typical thrash drumming patterns, providing a solid yet dynamic backbone to the music.
What sets Tankard apart is their irreverent sense of humor, which is fully on display in this album.
What sets Tankard apart is their irreverent sense of humor, which is fully on display in this album. While thrash lyrics often delve into grim or intense themes, Tankard isn’t afraid to lighten the mood. Songs like “Hot Dog Inferno” showcase this well, taking a tongue-in-cheek approach to the subject matter. The humor doesn’t detract from the music; instead, it adds a unique texture that sets them apart in a genre that can sometimes take itself too seriously.
Lyrically, the album is a treasure trove of themes. Frontman Andreas Geremia, better known as Gerre, tackles topics that range from critiques of societal norms to the band’s love affair with beer. The title track, “Kings of Beer”, serves as an ode to their beverage of choice, a theme that has recurred throughout Tankard’s career. This isn’t just for laughs; it’s part of their identity, and fans have come to expect it.
It’s not just about the studio magic; Tankard’s music is engineered for live performances. The rapid-fire guitar riffs, combined with Gerre’s commanding vocals, make for a live show that’s as engaging as it is loud. Songs from “Kings of Beer” have found their way into their live setlists, standing as crowd-pleasers that get fans moshing and singing along.
The album nicely blends the quintessential elements of thrash — speed, aggression, and technical prowess — with the band’s own unique contributions, be it humor, thematic diversity, or a knack for live showmanship.
A Thrash Symphony in Twelve Parts
The album revs its engines with “Flirtin’ with Desaster”, setting the stage with a high-octane opener that leaves no room for guesswork. You’re in for a thrash ride, and it’s going to be fast.
Up next is “Dark Exile”, shifting the vibe into a somber mood. The band explores themes of loneliness and exile, showing their range within the thrash metal sandbox.
“Hot Dog Inferno” follows, and yes, it’s as fun as it sounds. This track’s got humor sprinkled all over it, making it a memorable pit stop in the album’s journey.
“Hell Bent for Jesus” dives into religious territory, but with a Tankard twist. The song balances its gravitas with driving riffs, making it a complex but engaging listen.
The title track, “Kings of Beer”, serves as the album’s anthem. It’s Tankard’s ode to their favorite beverage and a call to arms for beer lovers everywhere.
“I’m So Sorry!” offers a blend of irony and introspection. It’s a track that questions societal norms, demonstrating the band’s ability to be both serious and tongue-in-cheek.
“Talk Show Prostitute” is next, providing a cynical take on media culture. The band uses their thrash prowess to criticize the shallowness of TV talk shows, adding another layer to their social commentary.
“Incredible Loudness” keeps the energy high but focuses it on the sheer power of volume. It’s a short but impactful track, serving as a reminder of the band’s ability to command attention.
“Land of the Free” gives us Tankard’s take on American culture, complete with political overtones. The song challenges the notion of freedom, all while keeping the thrash meter high.
“Mirror, Mirror” follows, offering a more introspective look at self-perception. It’s a blend of fast riffs and thought-provoking lyrics, making it a standout track on the album.
“Tattoo Coward” continues the social critique, this time targeting the culture of body art. It’s another example of how Tankard uses thrash metal as a platform for commentary.
Finally, the album closes with a cover of Metallica’s “Damage, Inc.” It’s a nod to their thrash metal peers and serves as a fitting end to an album that covers so much ground.
As a tour de force in the thrash metal genre, the album offers a perfect blend of speed, humor, and social commentary. Whether you’re here for the riffs, the laughs, or the lyrical depth, this album delivers on all fronts.
Critics and Fans Toast to Kings of Beer
While “Kings of Beer” may not have skyrocketed to the top of mainstream charts, its performance in the realm of thrash metal was noteworthy. Critics, especially those focused on metal genres, were quick to laud the album for its commitment to traditional thrash elements. Publications within the metal community often highlighted the album’s balanced approach — it mixed the speed and aggression that thrash is known for with a layer of humor that made it distinctively Tankard. This dual appeal helped the album garner reviews that emphasized its originality within a well-established genre.
Critics, especially those focused on metal genres, were quick to laud the album for its commitment to traditional thrash elements.
It’s worth noting that the album’s impact extends beyond studio recordings; it’s carved out a significant place in the band’s live performances. Songs like “Flirtin’ with Desaster” and “Kings of Beer” are crowd-pleasers that have become setlist regulars. This is proof of the album’s enduring appeal, as songs that are two decades old still manage to energize contemporary audiences.
Moreover, “Kings of Beer” has found a home among thrash purists and casual fans alike. It’s often cited in online forums and social media discussions as a must-listen for those keen on exploring thrash beyond the household names. The album serves as a gateway to Tankard’s extensive discography and acts as a solid introduction to the sub-genre of thrash that prides itself on not taking everything too seriously.
In the grander scheme of things, “Kings of Beer” remains a touchstone in both Tankard’s career and the broader thrash metal landscape. Its enduring relevance is evidenced by its frequent inclusion in retrospective reviews and “best of” lists focused on thrash metal from the early 2000s. It’s an album that has not only withstood the test of time but has also aged like the fine beer it glorifies—gaining more character and depth as the years go by.