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Saxon - Into The
Labyrinth (SPV) Review by Steve Green |
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Let's get my love of Saxon into perspective here. I've
been a fan of the band for about 28 years now, maybe a little
longer. They are arguably my favourite band of all time. I say
arguably as I don't really have a number one favourite band,
but they are right up there with Iron Maiden, The Scorpions
and everything Dio has done since Ritchie Blackmore's Rainbow.
Denim And Leather is in my all time top 5 albums and And The
Bands Played On, Denim And Leather (the song) 747 (Strangers
In The Night) and Princess of the Night, amongst countless
others, are some of my favourite Metal anthems of all time.
Yes, I love Saxon. So any (minor) negative comments made here
are from a huge fan of the |
band.
While Biff Byford thinks Into The Labyrinth is "an even
balance between Lionheart and The Inner Sanctum", I'm more
inclined to think it sounds somewhere between Crusader and
Innocence Is No Excuse, with a healthy dose of more modern
European Metal influences such as Within Temptation and Blind
Guardian. But don't worry, Saxon aren't going all funny on us,
they are just expanding their sound once again.
I have to say that opening number, Battalions Of Steel, is one
of the best songs Saxon have ever written. It's an epic way to
start the album and its Within Temptation/Epica style choral
effects are unbelievably good, and they fit the Saxon sound
remarkably well. Even after all these years, Saxon still have
the skill to create Traditional Metal that still sounds
current and they leave nearly all of the competition for dead.
Unfortunately the same can't be said for the first single off
the album, Live To Rock. The keyboard sound at the start of
the song is way too close to Bon Jovi's Bad Medicine and the
song itself is a very clichéd, Saxon style rocker that's been
heard many times before. Next up is the infinitely better
Demon Sweeney Todd, which is fist bangingly heavy dandruff
shaker. Nigel Glockler has always been my favourite Saxon
drummer, and he propels this one forward just as he did on
such classics like Power And The Glory and This Town Rocks.
Good stuff.
The Letter is a 42 second acoustic guitar and vocal intro,
then it's time for Valley Of The Kings. Taking into
consideration that this album was recorded at Blind Guardian's
Twilight Hall studios, then the huge, flag waving chorus
shouldn't really come as a surprise, but it is. I think this
one will go down very well live, especially in Germany I
suspect. As I said at the start of my review that I think
there are comparisons to be made with the Crusader/Innocence
era, and this song is the best example of that statement.
Slow Lane Blues takes us back a little further into Saxon
history, as I'd place this one around the time of Wheels of
Steel and Strong Arm Of The Law, with a more current theme, as
it includes 4 x 4's and speed camera's, but it's still about
being hassled by the "strong arm of the law". As the title
suggests, there is a bit of the blues about the song, which
incidentally is also included on a few other songs on the
album, and it's a side of Saxon that I've really enjoyed on
this album.
Crime Of Passion once again heads towards the more clichéd
side of Saxon. It's an ok song, but to be honest, it is a bit
of a filler. After another short interlude, the 40 seconds of
Premonition In D Minor, we have Voice. Which is quite ironic
as Biff sounds absolutely fabulous on this brooding number.
The missus mentions it quite often, but it's something I tend
to take for granted. Biff Byford has one of the best Metal
voices around. This more sombre number showcases how melodic
he can sound and it's a nice way to keep the album sounding
fresh by varying the pace and intensity of the songs. Apart
from the opener Battalions of Steel, it's probably my
favourite song on the album.
As we head towards the end of the album, things get a little
heavier. Protect Yourself is a riff heavy beast, with just a
hint of the blues to fire it along, while Hellcat seems to get
better with every listen. It has a catchy as hell chorus that
keeps getting stuck in my head and another fiery riff to rock
out to. I wasn't too keen on the song to start with, but it
really has grown on me, especially as it's so damn heavy.
Come Rock Of Ages (The Circle Is Complete) isn't as heavy as
the previous couple of numbers, but it does have yet another
catchy chorus. I think it would have fitted in quite well on
Innocence Is No Excuse, except that Saxon have now mastered
the art of producing more melodic Metal without losing any
power. Finally we get Coming Home (Bottleneck Version) which
is an acoustic/slide guitar version of the song that first
appeared on Killing Ground. I hated Motorhead's Whorehouse
Blues, and I guess this is a similar type of thing, but this
one works well... and it's a very cool way to end an album
that I have to admit that I wasn't particularly keen on after
the first couple of listens. But thankfully I've persevered
with it and I now cannot wait for their UK tour in the Spring.
At the minute I'm only due to see them in Wolverhampton, but I
might try and persuade "she who must be obeyed" that at least
one more date on the tour would be a good idea. Anyway, time I
was gone. Buy or fucking die!!!!!
PS: A big thank you to fellow L4M writer Dave Schalek for
sending this album my way. You rock!
www.saxon747.com |
www.spvusa.com |
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Scar For Life - Scar For Life
(Self Release) Review by Steve Green |
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Being a huge fan of Rose Tattoo's Scared For Life album, for whatever
reason, I had programmed my mind into thinking this would be music of a
similar style. How wrong could I have been?
This is very melodic Hard Rock, but it blends that together with a very
modern sound, creating quite a rich palette of sounds, which all combine
together quite brilliantly. Scar For Life hail from Portugal, but if you
didn't know any different, you'd put them down as a huge American arena
band. And again, without the knowledge that they are unsigned and this
album is available for free from the bands website, you'd be thinking they
are some hotshot
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new band that America is going crazy over. Whatever you expect
Scar For Life to be, your expectations will be quite a way off
target. This is ridiculously smooth, yet the musical styles
change slightly from song to song, while still retaining a
central style that holds everything together. The occasional
act of urgency can also be found, as on Insomnia, where main
vocalist Rez is joined by the harsher
tones of Dinho, whilst a grooving riff is played off against acoustic
guitars. Scar For Life sound very familiar, but they don't seem to follow
the blueprint you'd expect them to. This is down to the song writing
skills of Alex Santos, the man behind Scar For Life. So you have to
applaud the man for at least trying to be just a little different. And I
think that's the reason why the album works well. Subtle changes which
keep you interested, which is so much better than a lot of Southern
European bands who try and cram as many styles together in a single album.
If this review has whetted your appetite, then grab the album for free,
while you can, from the bands website.
www.scarforlife.com |
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Screamer - What Excites You
(Self-produced) Review by Metal
Mark |
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This CD sat on my desk for a few weeks before I realized that
this is the same band that recorded "Target Earth" way back in
1988. I have never heard that album, but I do know that it
highly regarded. If it is anything like this album then I
really need to track it down. Screamer hail from Wisconsin and
this version includes 3/5 of the line-up that played on
"Target Earth". The sound here is reminiscent of early
progressive metal like pre-Rage for order Queensryche, early
Fates Warning and Crimson Glory's first release. There is also
some melodic metal similar to late 70's/early 80's acts like
UFO and the Scorpions that is |
evenly blended in to the sound. This album sounds very much
like metal from the 80's, but they manage to be fresh enough
that it never feels dated. The melodies are well crafted and
the vocals soar yet maintain enough of an edge to really work.
The guitars on the album contain tight and furious riffs that
manage to set the mood for every song. The solos are direct
and some times they just blaze ahead like on the killer solo
of "Black Valentine". Drummer Pat Hainault does a great job
really laying down the heavy beats and he adds enough flair to
his parts to really help the overall sound. Most of the tracks
are about the same pace. Although I liked every song I
couldn't help but wish they had varied the pace more at times.
Other than that this a fantastic example of how solid playing
and strong melodies can go together to create a blistering
metal album.
www.myspace.com/screamertargetearth |
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Son Of Eric - Epiphany
(Nightmare / Sugar Shack Records) Review by Joe Geesin |
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With the band Torok in hiatus, long time vocalist Bryan
Erickson has recorded this solo album (which it is under a
different name). For alongside Bryan (guitars, keyboards,
bass) is drummer Greg Morrow, and some guest guitar soloists.
“The Truth” opens up in almost extreme fashion, with some
tribal drumming, and a fine noodly guitar solo from Todd
Duane. The sound is upfront, harsh, the rock is solid, but the
solo a little too up its own backside. Duane was rated 3rd
fastest guitarist in the world by Guitar World. So? I’m no
guitar techie so the further up its own backside it goes the
less interest I have. |
| “High Plains Drifter” has a fine riff, with guest Mike Torok
(of Torok fame) providing some neat guitar. Sadly the bright
production and harsh mix of the drums make a half decent
drummer sound like a panel beater. “Black Rain Falls” has a
darker sound, there is a hint of Black Sabbath. Other classic
rock influences range from Deep Purple and Led Zeppelin
through AC/DC and up to Skid Row and Queensryche, the album is
chock full of riffs, and Bryan does a good job of keep
everything together. Modern classic hard rock which does
suffer with the bright and loud sound.
www.myspace.com/sonofericband |
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The Belonging - Ashes of
the Fallen Throne (Self Release) Review by Crin |
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Formed in 1998, here we have the second album from a band who
will probably serve as a second Thus Defiled, or Cruel
Humanity, or Arcane Church. Need I go on? These are mighty
decent bands who are out there but never heard, who are active
but rarely get a mention in this big indie label governed
media machine. Hey, what they say is the good gets signed, and
we are stupid enough to buy it. So how do a fine act like
England’s Belonging progress in this mainly European dominated
scene? Well, that’s a good question but for now the music is
the only thing that matters and this release is again a
precise, intricate Blackened/ Death aural blitzkrieg. From the
off, we are plunged straight into the ferocious |
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yet controlled technical music the legendary Dissection would
be proud of. Throughout the meandering arrangements you get
glimpses of Immortal that affirm this bands wonderful song
craft. A mix of harsh and clean vocals take the edge of an
otherwise quite ear hammering experience. A solid performance
from a solid English band who given the luck could rise to
greater things.
www.myspace.com/thebelonging |
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| Various - Thrash and Burn
‘An Irish Tribute to Thrash’
(Underground Movement) Review
by Crin |
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Irelands up-and-coming metal acts pay tribute to some of the
finest Thrashers of yester-year the biog exclaims!. Well,
plucking a cd’s worth of thrash tracks is a hit and miss
affair as you could make 100 of ‘em, each with high quality
covers. So, to get a feel for this unusual release we may as
well go track by track,
Mass Extinction cover "Kill on Command" by Vio-Lence, a pure
razor sharp version much like the original and a blazing start
to this release. Pure Thrash reborn.
Sol Axis "Raise the Dead" by Bathory. The original
was a raw to the bone ice embraced blackened hymn to aural
terror. This is a very lame almost odd version as this is not
a |
Black Metal version, but a thrashy take and I found it hard to stomach.
Era Vulgaris "Five Magiks" by Megadeth, you need to be tight
and shit hot to fuck around with a Megadeth track and get away
with it. Well, this version just about scrapes by and after a
few spins it is actually a fantastic cover. Very like the
original in tone.
Reign of Fire "Beneath the Remains" by Sepultura , from the
clichéd intro into a full Napalm Death style deathly thrash
take on a classic. The cover works well.
Warpath "Piece by Piece" by Slayer, This is a bottom heavy
version with a grinding backbone. A pretty paint by numbers
effort. Manifest "Seemingly Endless Time" By Death Angel,
Thrash heaven returns here as all the attributes of the genre
are spat out here with wicked precision.
Nuclear Reign "Into the Pitt" by Testament, A choppy and
faithful cover, neither bad nor jaw dropping.
Only Fumes and Corpses "I Don't Need Society" By D.R.I, Fuck
me!!, it takes one of the crossover bands to rip up the air
with brazen riff chugging. A fine cover indeed.
Sorrowfall "Fade to Black" by Metallica, the only real
bastardization of a classic here as this version dismantles
the original and reconstructs it in a completely different
key. A brave move from a very capable band.
Acrid Nebula "The Usurper" by Celtic Frost, like the original,
bass heavy and sludge drenched. Frost fans will love this
version.
De Novisimus "Hang the Pope" by Nuclear Assault, a hugely
enjoyable cover as the track is blasted out and for some odd
reason descends into a bizarre guitar jam. The band must be on
some Thrash acid.
Christorgy "Satans Trampoline" By Lawnmower Deth, The British
were not exactly bursting at the seams with bands from the
Thrash era. We had the mighty Venom and Onslaught, but then
things seemed to get a bit patchy. Lawnmower Deth just managed
to stay around long enough to make a few decent albums. Here’s
a decent cover of a track that is as obscure as the band.
Viocosis "The American Way" by Sacred Reich , Faithful thrash
cover that evokes the era well.
Raging Conflict "People of the Lie" by Kreator, The only
German act here and its an odd track to cover, but still a
fine effort.
Darkest Era "Countess Bathory" By Venom, the cd ends with a
watered down version of a classic Venom track, and as I am a
huge Venom fanatic I was a bit pissed off when I heard this. I
just cannot listen to a Venom track sounding so swishy washy.
Thrash & Burn will be Ireland’s first tribute to Thrash, and
its quite an ass kicking release and one I am very impressed
with.
www.underground-movement.net |
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