Unconditional Absolution is the third album of the German traditional Heavy Metal band Metal Inquisitor, and comes after the very good The Apparition and the even better Doomsday for the Heretic. It is besides a natural follow-up to the latter, an album in which the band started to slowly wander from their, ah, *blatant* classic heavy metal influences (Iron Maiden, Judas Priest and the like). It is clear when you listen to Unconditional Absolution that Metal Inquisitor now sounds like… Metal Inquisitor before anything else, which is always a good thing as far as I am concerned. Yet, does the album match the quality of both previous albums? Eh… Yes and no. Let’s have a look.

The album kicks off with the bass drum of Extinction’s introduction. They quickly make room for a fast-paced, in-your-face but also unoriginal litany of repetitive riffs, frenetic beats and snares, and quite enjoyable solos. Then, bass drum again. Those of the beginning of the second track, Casualty Evacuation. They lead to what you soon identify as the same generic guitar swinging riff you can hear in what seems to be a dozen Metal Inquisitor songs now. You could call this riff The Generic Metal Inquisition Guitar Riff. Luckily, it’s a fist-pumping one, so everything’s fine. The third track, your average Maidenesque song, Quest For Vengence kicks in afterwards. Galloping riffs, anthemic chorus, screaming guitar solo: nothing unheard before. The next two songs, Drowning Death and the mid-paced and gloomy Betrayed Batallion, are below average and easily forgettable. They lead to the next track, Satan’s Host, which starts with… ah, a bass drum roll. Again. Oh, and a Generic Metal Inquisition Guitar Riff, too! Two-hit combo. Although, the song is thankfully enjoyable, especially live I suspect.

The second part of the album starts with a mid-paced, darkened, almost whiny song, The Arch Villain. Although this is not my favourite track on this album, the gloomy guitar parts are a nice touch. The eighth song, Neropolis, has not much to offer except for a nice little “sing-along material” chorus, which again I suspect should be a lot of fun to yell in a gig.
And then, come the last three tracks… Guys, you should have put them much earlier! They are basically the same songs as previously, okay, but they are a lot more fun. Suffer The Heretic To Burn in particular, as it even offers this thrashy galloping riff you wish the band used a bit more often. I find it extremely difficult not to shake my head to this one. The break is bland and almost ruins the song, but thankfully the solo is here to save the day. Badass song! And finally, the last (slow-paced) song The Path Of The Righteous Man that concludes the album. Wow, it’s one of those songs you absolutely have to listen to in the complete dark to fully appreciate. It’s not pure genius, granted, but it succeeds in giving you the goose bumps and ends very well the album.

Overall, this is a recommended album for those who are familiar with Metal Inquisitor, and seek nothing else than that same old formula which, admittedly, works very well and suits these guys fine. However, if you expect something different from the usual from these guys… Meh. Try before you buy.