Spiritworld - Helldorado

I owe Max James a huge thanks and horns up for getting me into Spiritworld back in 2022 with his end of year list. Aside from a kick ass album art for “Deathwestern,” the whole Western Death Metal premise intrigued me, and while the result wasn’t so much Death Metal but more Slayer and Gojira tinged riffs and drumming loaded with tons of samples that it played like a Rob Zombie release, I was impressed. However, I felt the leaning too much towards Slayer for that record was kind of a crutch that hindered Spiritworld from really unleashing their potential. Going back to the beginnings of the band from Las Vegas 2017 they were more Punk rooted it seemed with their spaghetti western flare (and flair based upon the way they dressed but if Cradle of Filth and Ghost can get away with a dressy gimmick why can’t these guys?) The real question is when the gimmick becomes more interesting than the music. Well, with “Deathwestern” come and gone since 2022, 2025 has a new Spiritworld album that seems to continue the apocalyptic western theme, but does it unshackle Spiritworld from the issues that they had before?

The answer is yes a thousand times over! While “Deathwestern” teased listeners with a country tinged opening the rest felt like it was a chopped and mixed bit from albums like “God Hates Us All” and “Christ Illusion” from Slayer. Very catchy and irresistible to headbang to with the Gojira laced groove and barks but it lacked originality. Well, “Helldorado” seems to pick up where the last album left off but Spiritworld shakes the dust from their laurels and steps from the saloon into the sunlight. A bit of mix of going backwards but also forwards those who have heard their early work from 2020 will hear more Punk back in this effort as well as… country? The opening ‘Abilene Grime’ is a far cry as it sets the tone again with organ keys and dual twang of guitars from Matt Schrum and Randy Moore alongside the bark and Hardcore esque chant of vocalist Stu Folsom that sounds like a mix of Malevolence meets Gojira. Anthemic as ever, he drives the heart of the music as it builds and then the tone shifts with the familiar Slayer riffs halfway through the song with thick well paced drums from Preston Harper, but the noise level isn’t so raucous that the bass from Nick Brundy isn’t lost. The mix here sets a good tone for the album and continues to build through the album. It does take a minute to get to the interesting parts as the following ‘No Vacancy in Heaven’ sounds a bit more of the same from “Deathwestern” but devoid of samples and leaning more towards Hatebreed and rather than Slayer save for the solos. Still, Spiritworld are not forgetting their roots or changing genres but rather fine tuning their sound to stand out.

‘Bird Song of Death’ is where things really change for the band, and fans. Remember when Lamb of God released ‘Overlord’ a long time ago and everyone was floored when Randy sang versus his spoken drivel or bellows and screams. Well, that feeling will come again with this song as Stu sings in almost a rough Country Alt. Rock style that isn’t as dramatic as Volbeat but has that Punk edge of the likes of a band like Social Distortion. It is VERY different up to this point, but still catchy and a welcome song that makes Spiritworld unique and not just another Slayer imitator. Even the Slayer bits seem more Punk driven too especially in the solos as opposed to Thrash. It might confuse fans who are so used to the headbanging vibe, but it fits the overall theme of the apocalyptic west, and while it not be a mosh starter, when the hand claps come in listeners will want to do it too. The shift continues with ‘ Prayer Lips’ which is even slower, with layered croons and leaning almost towards a Crossfade style with acoustic touches and lulling vibe that is close to the song ‘The Unknown.’ There is even saxophone in this, adding a progressive element. For those who might think the album is too sappy at this point, all worries are dashed as the album picks back up in Groove Thrash form with ‘Waiting on the Reaper’ which is another anthemic mosh starter that will get bodies going right when the solo hits.

From this point it feels like Spiritworld treaded back to safer waters, which might bring enjoyable familiarity but puts a damper on their progressive momentum. “Helldorado” could have been a perfect album if they had just experimented a little more and mixed things up between Metal and Country on other tracks like ‘Stigmata Scars’ which just plays off like a mediocre Slayer meets Hatebreed track alongside ‘Waiting on the Reaper.’ It is catchy, but that is about it. Of course, Spiritworld shows promise by closing on a strong Country tinged ‘ANNIHILISM’ with fantastic sing-along-to lyrics and chorus that may not incite moshing, but it brings the other side of Spiritworld that isn’t Groove Thrash Hardcore laced full circle and could very well do well with some of those who turn their nose up at Metal in general in the first place. That’s what makes “Helldorado” such a success this time around is a merging of genres in seamless fashion rather than making it feel random and disjointed (such as the rapping nu metal that is on the new SickSense album). The only other downer about this album is it is short, not even clocking 30 minutes, leaving fans wishing for more. But, hopefully “Helldorado part 2” builds on the exciting cliffhanger this one left and fans will clamor for more when they hear it. It’s Metal as hell but also Country so get your boots on and line dance or mosh to it.

4.5 / 5 STARS