Do you feel blond enough to survyve the holocaust? Or at least with enough stamina for 40 years of the desert of the timelessness, grayness, the human alienation and the lost motivation? If the answer is “no”, “Not Blonde Enough to Survyve the Holocaust” is at least a firm back to hold on and a serious incubator of strength kicking your lazy ass up and forward. Concentrated waves of aggressive energy blow and fade while solid guitar punches and almost hysterical screams emerge on the background of the electronic samples and the powerful rhythm section. The essence of the accumulated in the last few years musical ideas and band and personal vicissitudes in front the guys. Months have passed in clarifying the conception and the musical direction and search for a studio and a manager (found in the face of the former Epizod guitarist Dragomir Draganov). The result is brilliant although a bit late response to the debut of the far 2003. The musical trajectory is more industial-metalized than “Fyeld”; the label is Stain Pictures, and instead of Vlado, the guitar player is Emo whom we have seen live yet several times. The turning points that a metal band faces when is born in a fucked up as a situation, position and spirits country as Bulgaria. But Fyeld are back again and if we judge by the record, they don’t intend to leave, at least not without a mountain of dead bodies behind them. Gasping as a series of electric shocks, the trackes after the noisy intro “Attack of the Dirty Grooves” grab you and tear your head off with their insane load while the electronic winks to the early filings of Clawfinger and the screams ala Rob Flynn by by Bobz hit you in the heart, squeeze the brain and clench your fingers in a fist. A lot of metal, a lot of crossover, a lot of industrial sound. Heavy clash with “Suffer My Justice”, first hint for admiration to Machine Head in “Rolling Spawns” while Bobz spits through teeth the lyrics, the inspiring “This Time”... the path through the songs is dynamic as a hurdle race towards the moshpit. And an end with the potential fist-like hit “40 Years in the Desert” – a classical metal cutter that stands as a finale of the CD to turn you back with a slap in the face to its beginning. And somewhere in there, hidden in seconds of silence stay moments of the studio time of the boys that remind of the strongest moments of the crossover in the middle nineties when the bands inserted in their albums as a joke and their own pleasure ignorance, shouts and slobbering from the studio. Metal, a memory, a promise and an application for a stable moshing pour out Fyeld in “Not Blond Enough to Survyve the Holocaust”. And there’s a catch here. The more you listen to it, the more you want to listen to it.