2026 is already shaping up to be an important year for thrash metal, and not just because Megadeth’s final album has just released: Kreator are back once again, finally bringing out the follow-up record to 2022’s ‘Hate Über Alles.’ The German band’s discography is a storied one at this point, with milestone album ‘Pleasure to Kill’ turning forty years old in just a few months: here and now, ‘Krushers Of The World’ seeks to prove that Petrozza and company still have more to offer. At that, the record mostly succeeds— Kreator’s newest outing is a solid change of pace for the group, even if it isn’t the most exciting release out there.

The band waste absolutely no time letting you in on a little secret on their latest record: the 80s was quite a while ago now, and Kreator have changed in that time. ‘Krushers Of The World’ is far from an abandonment of the furious metal the crew are known for— there’s certainly enough galloping drum beats and shredding guitar solos on cuts like ‘Combatants’ and ‘Deathscream’ to earn the ‘thrash’ label— but neither is it a bulldozing, balls-to-the-wall experience. The soaring melodic guitars that kick off lead single ‘Seven Serpents’ hint at some fairly prominent power metal influences dictating the fresh direction Kreator have gone in this time around, leading to an album that balances its speed and aggression against some more grandiose moments and, dare we say, catchy choruses. This opening cut juggles the two expertly, racing through all-manner of blistering verses, roaring guitar passages and an incredibly groovy bridge section to boot. At the very least, it’s comforting to hear that Petrozza and company aren’t content to rest on their laurels: ‘Krushers Of The World’ is attempting something a little different, and it deserves praise for doing so.

Still, don’t get it twisted: Kreator are hardly aiming to steal fans away from Epica, Powerwolf, Helloween or any number of more traditional power metal groups, but have nestled those influences firmly in amongst their classic thrash sound. The new record wraps itself in a mix that, though modern, harkens back to an old-school style of production in many ways (especially in its drum sounds, which carry the brightness and expansive room popular in the 80s)— in much the same way, Miland Petrozza continues to snarl his way through the record, even employing his signature biting tone of voice in a series of melodic choruses. ‘Satanic Anarchy’ comes out swinging as one of the most driving cuts on the record, letting drummer Jürgen Reil and lead guitarist Sami Yli-Sirniö off the chain in a big way: still, the track’s central hook would probably be its highlight, if only Petrozza’s vocals could adapt more cleanly to the change in direction. The man is more frontman than he is singer, and you can tell— at nearly sixty years of age, his voice doesn’t quite hit the spot anymore.

As much as Kreator have attempted to spruce up their old formula on this one, this is hardly some grand reawakening for the group: it’s much the same record as this band have made time and time again, just dolled up with a fresh coat of paint. The title track carries a slower, more ominous energy with it that allows the gang vocals in its chorus to ring out across the soundstage— the song will surely go down a treat at any future live shows from the group, where the simple but effective hook of “Krushers Of The World” can really be done justice. We’d also be remiss not to shout out the flashy guitar work that brings the otherwise by-the-numbers thrash of ‘Barbarian’ to life: the flowery sweep-picking in its bridge, in particular, pushes those power metal influences out front in a really exciting fashion.

It's after that promising opening leg that the album begins to settle in though, becoming a little mundane as it winds on. Those soaring melodic lines we praised on ‘Seven Serpents’ fade into the background shockingly fast, leaving very little to separate the likes of ‘Tränenpalast,’ ’Blood Of Our Blood’ or ‘Psychotic Imperator.’ There’s little to pick apart with these cuts, especially since ‘Krushers Of The World’ is hardly the most lyrically intricate release of the year, but that’s the problem: even if the band still sound solid in 2026, they never quite manage to set themselves apart like they were hoping to. The only song that really deserves a mention is closer ‘Loyal To The Grave,’ which stands out as the weakest on the album for the beat-your-head-against-the-wall repetition of its chorus and its ho-hum mid-tempo guitar chugging. Kreator can still absolutely make thrash metal— they just can’t catch us unawares with their speed anymore, or truly excite us with their riffs.

After so many records, Kreator’s attempts to inject something new into their sound are absolutely commendable: even still, their newest release ultimately winds up feeling like more of the same. Cuts like ‘Seven Serpents’ and ‘Satanic Anarchy’ are definitely solid numbers, but when held up against the modern offerings of other legacy thrash outfits like Testament or Coroner, ‘Krushers Of The World’ doesn’t quite pull its own weight. We’d love to see Petrozza and company really shake things up in future, crafting an album unlike anything they’ve done before— this crop of tracks feels afraid to let go of its thrash roots and, by album’s end, risks blending in with the competition.