DevilDriver have always occupied a unique space within modern metal. Formed in 2002 following the dissolution of Coal Chamber, frontman Dez Fafara built the band around groove, aggression and relentless momentum rather than chasing trends. Across ten studio albums, the Californian outfit has shifted between groove metal, melodic death metal and thrash influences while always retaining a recognisable identity built on crushing riffs, barked vocals and infectious rhythmic hooks.
From the savage breakthrough of The Fury of Our Maker’s Hand and the career-defining Pray for Villains, the impeccable The Last Kind Words, through to the polished brutality of Winter Kills, to the darker, more introspective Dealing With Demons double album, DevilDriver have consistently delivered dependable heavy metal. They have rarely reinvented themselves, instead refining a formula that has earned them one of the most loyal fanbases in modern extreme metal.
Strike and Kill, the band’s eleventh studio album, arrives with a significantly refreshed lineup and promises a return to the band’s heavier roots. Produced by guitarist Gabe Mangold, the record reunites original bassist Jon Miller with Dez Fafara while introducing newer members Alex Lee and Davier Pérez, creating a revitalised rhythm section without abandoning the band’s trademark sound.
Opening albums has always been one of DevilDriver’s strengths, and “Dig Your Own Grave” continues that tradition. Machine-gun riffing, thunderous drumming and Dez Fafara’s instantly recognisable roar establish the album’s intent within seconds. The groove is infectious, the chorus memorable without becoming commercial, and the pacing never lets up. There’s also a sprinkling of haunting keyboards during the chorus to add an extra layer of spice. “Dead In The Water” opens with a commanding, rousing attitude before the momentum continues with a faster, more technical assault. Davier Pérez’s drumming deserves particular praise, injecting subtle fills and dynamic changes that prevent the song becoming repetitive. While structurally familiar, the performance elevates the material considerably. “Sanctified in Scars” is the first genuinely atmospheric track on the album. Industrial textures creep beneath thick guitar work, giving the song a darker personality than the opening pair. It balances melody and aggression well. The album’s title track continues this artistic direction but with a more muscular edge amplified by a devastating breakdown during the track’s closing moments.
“In The Moonlight” is one of the album’s more melodic moments with harmonised guitars but don’t get it twisted. Despite it’s more melodic tendencies, the relentless heaviness is still very much prevalent while Dez’s vocal delivery remains suitably venomous. It’s a reminder that DevilDriver have always understood the value of dynamics. However, “Ride Or Die” and “Headed For The Fall” return to unrelenting speed and aggression with happy stompy-stomps along the way. Built around colossal groove riffs and instantly memorable choruses, they capture everything that has made DevilDriver successful over the years; aggressive without sacrificing accessibility and feels destined to become some new live favourites. “Shut The Silence On” and “Never Coming Home” is where the album settles into familiar territory. The riffs remain solid, the performance committed, but the songwriting begins to follow patterns long-time listeners will recognise immediately, this isn’t necessarily a bad thing and as much as these tracks are good, they don’t stand out as much as the preceding tracks.
It wouldn’t be a DevilDriver album without a introspective moment which is expertly delivered with “Summoning Shadows.” Although relatively short at less than 3 minutes long, the utilisation of clean vocals and acoustic guitars slowly builds to an explosive and emotive conclusion to the track. “You’re Just A Ghost” ventures into technical death metal territory with complex riffs, dynamic time signatures and dense atmosphere, serving as a brief deviation from the tried and tested formula without sacrificing the band’s core sound; a definite stand-out moment for the album. “Oath Of Iron” is raw, energetic and bordering on punk in attitude, this injects fresh momentum into the closing stretch. It’s one of the album’s shortest and sharpest cuts, proving DevilDriver don’t always need complexity to make an impact. Closing albums is often more difficult than opening them, but DevilDriver finish strongly with “All Bets Are Off”. Beginning at a measured pace before building into an expansive finale, the song showcases the band’s maturity without abandoning their trademark aggression, providing a satisfying conclusion.
Strike and Kill isn’t a radical reinvention, nor does it attempt to redefine DevilDriver’s place within modern metal or rewrite the rulebook; it is about sharpening the weapons they already possess. Long-time fans will recognise many of the songwriting patterns, riff structures and vocal cadences almost immediately. Instead, it delivers exactly what fans have come to expect: crushing grooves, muscular riffs, relentless energy and Dez Fafara leading from the front with unwavering conviction. Compared with Dealing With Demons Vol. II, the songwriting feels tighter, the performances more inspired and the production considerably more powerful. It doesn’t quite reach the heights of classics like The Fury of Our Maker’s Hand, Pray for Villains or The Last Kind Words, but it comfortably stands alongside the stronger releases from the band’s later career. What it does offer is forty-plus minutes of confident, expertly performed groove metal from musicians who know exactly what they do well. For devoted fans, that’s more than enough, while newcomers will find an excellent introduction to the band’s signature sound. Even after more than twenty years, DevilDriver still sound committed to delivering uncompromising heavy music.
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Header image by Stephanie Cabral
Strike and Kill is out on July 10th via Napalm Records
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Daaaayyyyum that sounds so good. Time to put in my pre-order.