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These guys know how to do it. Destruction is a ballsy, riffy Heavy Metal assault on the ears that brings back fond memories of the glory days of such bands as Saxon or Judas Priest, while still keeping up the modern vigor in the same vein as bands like Dream Evil and Wolf. Picture midpaced-to-fast tempo Traditional Heavy Metal without any bells or whistles; just a solid set of headbangable NWOBHM-styled riffs and extremely catchy choruses that will never stop playing in your head. I've heard this band compared to Judas Priest's Painkiller a lot, but if I had to compare, it'd be to Saxon's 80s output - this is fun, biker-rock-esque stuff with a vocalist very much akin to Bill Byford's familiar gritty snarl. This is Godiva's third full length album, but it's the first I've heard by them, and if the praise given to the other records is accurate, then they've kept up the level of quality very well. Backed by a fantastic, clear, heavy production sound, Godiva march forth on their black steeds and aim to stomp your puny ass flat, and they do a fair job of it with this album. There's not much "depth" to this album, and there is nothing here you haven't heard before, but Godiva isn't about progression or musical virtuosity, they just want to make some good old fucking heavy metal, and that's exactly what they do.

There are no real bad cuts here, and the best ones are really cool; storming, rocking slabs of solid metal like "Crawl in the Night," the title track, "Pedal to the Medal" and the best song here, the epic, raging "Inside Hell." This is instantly catchy music, and not something you will tire of easily - I've been playing this at least once a day since I came across it! If I had to pick a weak point, it'd be that the album runs out of steam towards the end, leaving filler cuts like "Running from the Past" or "Hell on Fire" to close us off. Mix up the track list a bit more next time, guys. You will also here several riffs that you'll swear you've heard before, but who the fuck actually listens to this type of music for anything else other than riffs like these babies? This rules, period. Go get it.

P.S. The bonus track is horrendously gay, as is the "introduction" piece. What the fuck was the band thinking?