Review BAEST “Colossal”

“Colossal” is the fourth album by Danish metallers Baest, and their most versatile to date. In fact, the five-piece band from Aarhus, Denmark, has added a solid dose of rock to their sound. Baest formed in 2015, and my first experience of the intense and savage nature of their music occurred when they supported Abbath in 2018. Having just launched their debut album, “Danse Macabre” the Danes delivered a massive set that set the bar high for Abbath.

Seven years later, the five-piece unveil “Colossal”, making a significant addition to their music. While retaining the raw intensity of their early days, Baest have incorporated a rock vibe, which is already apparent when listening to the opening track. “Stormbringer” features a rocking guitar riff before the song gains intensity and power. Nevertheless, the rock ‘n’ roll spirit runs through this blasting metal track, which will still delight fans of the band.

Another song that clearly indicates their broader musical approach is “King of the Sun”, which features D-A-D’s Jesper Binzer. This thunderous metal song is pure fun to listen to, and the melodic lines provide a great contrast to Simon Olson’s barking vocals. It’s as if Dokken were playing death metal.
The idea to widen their musical approach came about during soundchecks while touring with Krisiun. Baest played some ZZ Top songs and everyone started to enjoy these rock vibes.

The title track, which is also the lead single for the album, starts slowly before a faster-paced middle section creates a well-placed break. Returning to the slower pace in the second half highlights the song’s underlying theme, which is much like a sonic grin.

Drawing inspiration from ’80s metal, “Misfortunate Son” is a song featuring ORM. “Mouth of the River” is reminiscent of early thunderous Baest, while “Light the Beacons” is probably the band’s most melodic song to date. The instrumental draws inspiration from a time when melodic metal was at its peak, and musically bridges over to “Depraved World” The latter is the final track on the album, and listening to it especially made me think of Ozzy Osbourne in the late ’80s, particularly the guitars.

Baest’s musical development comes at just the right time, as their latest releases felt repetitive compared to their furious debut album. “Colossal”, however, sounds fresh and exciting. It’s an album that I didn’t expect to sound this way. I was pleasantly surprised, and although some old-school fans might need to get used to the new twist, “Colossal” is the most versatile Baest album to date.