ALBUM REVIEW: Judas Priest, "Invincible Shield"

By: Richard Maw

Album Type: Full Length
Date Released: 06/03/2024
Label: Columbia | Epic

 
“Invincible Shield” CD//DD//LP track listing:
 
1. Panic Attack
2. The Serpent And The King
3. Invincible Shield
4. Devil In Disguise
5. Gates Of Hell
6. Crown Of Horns
7. As God Is My Witness
8. Trial By Fire
9. Escape From Reality
10. Sons Of Thunder
11. Giants In The Sky
 
Deluxe edition bonus tracks:
 
12. Fight Of Your Life
13. Vicious Circle
14. The Lodger
 
 
The Review:

It’s been six years since “Firepower”, which was released 28 years after Judas Priest had made their last classic record, “Painkiller”. “Firepower”, as I stated at the time- and as I still affirm now- was nothing less than a latter day Priest classic. Can a band that is 50 years old still deliver the goods?!
As soon as “Panic Attack” opens this record the answer is emphatic: yes.
 
Of course, this is not exactly Judas Priest as we know them. KK Downing is long gone from the ranks. Glenn Tipton is still credited and listed as part of the band, but he must have taken a back seat in the recording process at least, as he is sadly suffering from Parkinsons and is now in his mid 70s. However, Rob Halford is back at the front, Ian Hill is as solid and unflashy on the bass as ever and Scott Travis remains behind the kit- as he has done for 34 years at this point.
 
Richie Faulkner must be given huge credit here; his guitar pyrotechnics are all over this record. He plays like a demon from hell. He shreds. He soars like a bird of prey. He is flashy, melodic, stone hard and occasionally delicate. Truly, the guitar work on this album is stellar. The solos and rhythm work is uncredited, but I really hope that Tipton got to play on here somewhere- if not every track.
 
The production, courtesy of erstwhile Sabbat man Andy Sneap is state of the art. It is slick, incredibly well mixed and it sounds, to be frank, incredible. Personally, I prefer more rough and ready sounding albums and drums that sound ‘live on stage/in a room’ but I cannot fault the production here for what it is: a modern, huge, and slick sounding metal behemoth. Judas Priest got things right with “Firepower” and they get things right again here. Metallica: take note.
 
The album covers a lot of ground and a lot of moods and approaches. Yes, Priest sound like Priest, but each record is different with its own identity. “Turbo” is a far cry from “Painkiller”. “Stained Class” is very different to “British Steel”. “Jugulator” is totally different to “Nostradamus”. If comparisons are to be drawn, this is not dissimilar to “Firepower” but is perhaps closer in some ways to “Redeemer of Souls” in terms of moods and melody. Indeed, “Redeemer…” could have been a Priest classic, were it not for a lacklustre production and mix and too many mid paced moments.
 
Priest don’t make those mistakes here. The first three tracks are simply headbanging heaven. Neck-snapping nitro-glycerine for newbies and oldies alike. “Panic Attack”, “The Serpent and the King” and the title track simply put the pedal to the heavy metal and fly. Screaming vocals, searing guitars and pounding drums create an adrenaline fuelled vehicle- made of metal. Halford sounds incredible and once again Travis is awake and on fire with his effortless and ambidextrous precision behind the kit.
 
It’s nice to hear the Halford lyricisms present and correct as well; instead of ‘desolisating’ we get ‘volatise’ and so on. A nice nod to the group’s history and Rob’s approach to words and the English language: if it sounds right… it’s in!
 
The band drop down the tempo for “Devil In Disguise” and it reminds me of a kind of throwback to “Killing Machine/Hell Bent For Leather”- a dose of melody, a dose of groove, some heavy riffage and a big chorus. It’s a really solid track and not one I would have expected on “Firepower”. This is the band spreading their sad wings wider.
 
“Gates of Hell” is again at a different tempo, utilises some excellent guitar motifs and features an excellent Halford performance. This one could have fitted in on “British Steel”, or “Screaming…” or “Defenders…” it’s that kind of track. Quality hard rock/metal. “Crown of Horns” is up next and represents the slower and more melodic side of Priest. A side, to be honest, I don’t much care for. This would indeed have worked on “Redeemer of Souls”, “Point of Entry” or even “Turbo”. It’s well crafted and catchy, but NOT what I want from Judas Priest, even at this late stage of their career.
 
Pleasingly, “As God Is My Witness” sprints out of the blocks with the double bass drums rolling. This is what I’m here for; HEAVY METAL. Yep, this rules and sprinkles liberal doses of lead work throughout as Travis simply pulverises the kit. “Trial By Fire” drops tempo again, but more effectively this time. Interesting timing and clever riffing coalescing for a big chorus with a nice rolling feel- again shades of the best “Redeemer” material. Changing up again, “Escape From Reality” has a Sabbath vibe to the riff, before using dynamics to build the tension and another strong chorus. Halford channels Ozzy for the middle eight and it really works.
 
The last two tracks of the album proper are “Sons of Thunder” and “Giants in The Sky”. “Sons of Thunder” is a distant cousin of “Hell Bent For Leather” with a ‘freedom biker’ theme- and a gang backing vocal on the chorus. It’s fun, it’s metal; it opens the throttle up for the solo sections and allows Halford to once again give voice to his open-highway fantasies. “Giants In The Sky” is a celebratory affair but tinged with a little sadness. A tribute to the fallen gods of the metal world, Halford remembers his friends and pays heartfelt tribute to them here; you can imagine Lemmy, Dio et al voicing their approval and raising a glass in return. It’s lovely to hear Halford’s passion for the legends of the genre- he remains a fan, even after all these years.
 
It’s a nice closing statement and a reminder that Priest won’t be around forever. If this is the last studio album, it’s a very good one to go out on and represents everything that is good about the band; varied material, masterful metal and a real ear for melody missing from much of the modern-day genre. Halford’s final scream is excellent, as well.
 
If you are streaming the album, or if you shelled out for the special edition CD, you will also hear three bonus tracks. “Fight For Your Life” is a grooving stomper with another melodic chorus. It’s a decent track, but not quite up to the standard of the rest of the record, perhaps. “Vicious Circle” is a chugging monster and- for my money- could have made the main body of the record easily; a quality slice of steel.
 
Finally, there is the outlier. The oddball. The bonus track that wouldn’t have fitted on the main record. “The Lodger” is a strange one. It’s not written by the band. It is the work of Bob Halligan Jnr who wrote “Take These Chains”, in the band’s early 80s golden years on “SFV”. As a point of note, I dislike “Take These Chains” intensely. I don’t like “Some Heads are Gonna Roll” from “Defenders…” either. This song is like something out of a Broadway musical. It’s kind of a crime drama, but for me is far too close to Spinal Tap’s “Jack The Ripper” musical idea for comfort. He’s a naughty one, that Bob Halligan Jnr. All of that said, it is a bonus track and the band is to be commended for trying something different and giving the fans more for their money. Many will love it.
 
So, what’s the verdict? It’s a latter-day Priest triumph. I don’t think it quite matches up to “Firepower”, but some will disagree. This is a quality record through and through and certainly better than everything the band did in the latter half of the 80s and then better than everything other than “Painkiller” and “Firepower” since. Really, for a band half a century in, I could absolutely not ask for any more than this. The band is still firing on all cylinders and the vast majority of the eleven tracks that make up the album proper are excellent. Of the three bonus tracks, one is a killer, one is a filler and one is not for me at all. Overall, this is superlative heavy metal and absolutely worthy of one of the best bands in the genre.
 
Sign on the line and let The Priest have your soul, indeed.
 
For my own bonus track, here is my list of Priest studio albums in order of preference. Don’t get too upset, it’ll change tomorrow. And next week. And on and on.

1). Sad Wings of Destiny
2). Stained Class
3). British Steel
4). Firepower
5). Killing Machine (Hell Bent For Leather)
6). Painkiller
7). Sin After Sin
8). Defenders of The Faith
9). Invincible Shield
10). Jugulator
11). Screaming For Vengeance
12). Rocka Rolla
13). Redeemer of Souls
14). Angel of Retribution
15). Point of Entry
16). Ram It Down
17). Demolition
18). Turbo
19). Nostradamus

Band info: official || facebook

REVIEW: Death Dealer, "Fueled Injected Suicide Machine" [EP]

By: Richard Maw
 
Album Type: EP
Date Released: 10/12/2021
Label: Steel Cartel Records

 

“Fuel Injected Suicide Machine” CD track listing:
 
1. The Dead Never Listen
2. Fuel Injected Suicide Machine
3. Freedom Is Not A Crime
4. Blood For Gasoline
5. Invasion
 

The Review:
 
Death Dealer are as prolific as they are metal- that is to say very prolific and VERY metal. The band is a supergroup of sorts, being as it features the imperious Sean Peck on screaming vocals and no less a legend than ROSS THE BOSS on lead guitar. Stu Marshall is the musical mastermind behind the band and is ably assisted by new recruit Mike LePond on bass and the excellent Steve Bolognese on drums.
 

The band have been busy over the lockdown periods; they put this shredding EP together and main man Marshall is quoted as having album four finished and ready to go... and the bulk of album number five finished as well!
 
For those uninitiated, the band put out debut “War Master” a few years back, followed it up with the massive “Hallowed Ground” and then went one better in 2020 with the excellent “Conquered Lands” album- which was a heavy metal tour de force. This is US style power metal; so a mix of trad, power and thrash. It's adrenaline inducing and anthemic in equal measure and it rocks very hard.

 
This EP has a Mad Max vibe/theme running throughout the artwork and songs. Fans of the first film will recognise the title from the Night Rider's rant. It's a perfect theme for Aussie Marshall to riff on, and riff he does. The title track is a rager; you'll break the speed limit to this one- as you will to “Blood For Gasoline”. “Freedom Is Not A Crime” is a heavy metal anthem and sounds MASSIVE, while “Invasion” rounds out the EP with a mid paced headbanging assault by way of Mongol historical epic.
 

There are order options aplenty from the Steel Cartel label, with a couple of vinyl variants, cover variants, t-shirts etc. etc. This is Judas Priest meets Accept in the outback, ready to shoot some guns and make some noise. It's excellent and is heavy metal to the core. If the next Death Dealer full length album lives up to this, then all true metal fans are in for a treat.
 
“Fuel Injected Suicide Machine” is available HERE 

Band info: Official

ALBUM REVIEW: The Three Tremors, "“Guardians of the Void”

 By: Richard Maw
 
Album Type: Full Length
Date Released: 05/11/2021
Label: Steel Cartel Records

 

“Guardians of the Void” CD track listing:
 
1. Bone Breaker
2. Guardians of The Void
3. Kryptonian Steel
4. Crucifier
5. I Can’t Be Stopped
6. Frailty
7. Operation: Neptune Spear
8. Chained to The Oar
9. Catastrophe 
10. Wickedness and Sin
11. Fall of Rome
12. War of Nations
 

The Review:
 
The Three Tremors return with this, an adrenaline infused joy ride through the wastelands of true metal! The Three Tremors is an over-the-top concept for an over the top HEAVY METAL band. You get three vocalists; Sean Peck (Cage/Death Dealer/Denner-Sherman), Harry Conklin (Jag Panzer, Tyrant) and Tim 'Ripper' Owens (Judas Priest, Iced Earth, KK's Priest, Beyond Fear et. al.). All three vocalists sing on every track. The singers are ably assisted by the members of Cage, Peck's first band. Sean Elg (Cage/KK's Priest) turns in a crushing drum performance which belies his wiry and be-spectacled image, the mighty-thewed Dave 'Conan' Garcia and the shredding Casey 'The Sentinel' Trask rip it up on duel/dual guitars and the bass slot is filled by Rapheal 'Gamma Ray' Nogueria, who lays it down with precision and weight.
 
The first 'Tremors album was good; I enjoyed it hugely and was I lucky enough to catch the band live in Bradford, England, where they turned in a powerhouse set of METAL, including a couple of Cage and Priest classics. Here, the band have upped their game again and made a storming record. The name of the game here is, of course, HEAVY METAL. It's worthy of the capitals, because how much more METAL could this be?! The answer is... none.
 
Shredding guitars, thrashing drums, screaming vocals- it literally screams METAL at you through the speakers. We are firmly in Judas Priest/US Power Metal territory here; think the heaviness of the “Painkiller” album with thrash pacing on some tracks and you've got it. Opener “Bonebreaker” should convert you, if it doesn's, you probably just won't get this. At all.

 
The title track is a nitrous injected burst of speed and vengeance, while the rest of the album does have some surprises in store. They can do mid-paced (“Crucifier”), sinister (“Frailty”), comic book (“Kryptonian Steel) and lots more besides. “Operation: Neptune Spear” tells the story of the hunt and elimination of Bin Laden and is just about the most American and METAL track I've ever heard: furious pacing, jingoistic chest beating, unashamedly pro-gun, pro-revenge, pro-military, glorying-in-the-death-of-a-terrorist, screaming-for-vengeance METAL.
 
These songs will make you drive faster, that's for sure- whether or not that will be straight to a safe space or straight to a shooting range will be up to the listener's disposition and sensibilities! As the album continues, it's heavy hit after heavy hit; “Chained To The Oar” is the obligatory viking themed track, picking up where “The Wrath of Asgard” left off on the debut. It's a cracker. “Catastrophe”, “Wickedness and Sin” and the excellent “The Fall of Rome” continue to batter the listener into submission with body and head shot combinations. It's relentless and gloriously over the top.
 
By the time the record closes with “War of Nations”, you may feel drained by the nature of the aural assault. This, after all, is what METAL should be: it's supposed to be OTT, it's supposed to be turbo charged, it's supposed to be divisive and universal in equal measure. Overall, I'd heartily recommend this to fans of USPM, Judas Priest, Manowar, any of the associated bands of the players here. Indeed, most thrash fans would get something out of this, such is its ferocity and commitment to the riff, the solo and the scream. If you are of a sensitive disposition, prefer nuanced political and social stances and don't like METAL... this is not for you. If I could award this album a score, I would award it multiple battle-axes, thousands of rounds of ammunition and huge doses of steroids- and I would wrap those awards in a stars and stripes flag. Superlative HEAVY METAL.
 
“Guardians of the Void” is ONLY available as a physical product and is not streaming; I bought the digipack CD direct from the label, Steel Cartel. It's available on Amazon and elsewhere but it really does beg to be purchased- the artwork is great; the music is too. Support bands and music, please.
 

“Guardians of the Void” is available HERE

 

Band info: Official

ALBUM REVIEW: Iron Maiden, "Senjutsu"

By: Richard Maw
 
Album Type: Full Length
Date Released: 03/09/2021
Label: Parlophone | BMG

 
“Senjutsu” CD//DD//LP track listing:
 
1. Senjutsu (8:20)
2. Stratego (4:59)
3. The Writing On The Wall (6:13)
4. Lost In A Lost World (9:31)
5. Days Of Future Past (4:03)
6. The Time Machine (7:09)
7. Darkest Hour (7:20)
8. Death Of The Celts (10:20)
9. The Parchment (12:39)
10. Hell On Earth (11:19)
 
The Review:
 
Iron Maiden are back. Five years after the excellent “Book of Souls”, Forty One Years after-up their debut. The six man line-up are still together and still alive. A new Maiden album is nothing less than an EVENT. Metallica have long since descended into pretentiously arty territory, with designer clothes, mainstream acceptance (after they courted it) and an overwhelming air of disconnection from their roots. Meanwhile, Maiden continue to plough their unique furrow. As can be stated by all Maiden fans, their career follows distinctive arcs and phases- essentially in ten-year cycles.
 
As I have stated before, I believe that they are the greatest metal band ever. Greater even than Priest. Greater even than, gasp, Sabbath. Sabbath are just as close to my heart as Maiden, but their lack of line up stability meant that they were literally several bands across their existence. Maiden have had changes in personnel, but crucially, the main players have always been there- mostly. Maiden are a British institution and their logo, art, sound and style are IMMEDIATELY recognisable. I love them, but that won't stop a fair review being given here.
 
First off, let's get it out of the way: this is not a return to “Powerslave”/”NOTB”/”Killers” immediacy and adrenaline fuelled metal. Instead, this is another latter-day Maiden album- lengthy, epic, maudlin in parts and dark. Very dark. In fact, its closest discography companions are “A Matter of Life and Death” and “The X Factor”. Please read on...
 
“Senjutsu” is long- 82 minutes long; so about ten minutes shorter than “BOS”. It is only ten tracks. That alone should tell you that you are not getting a re-tread of the debut. The band here are to be found on introspective and heavy form. In fact, some of the music here is amongst the heaviest they have ever done.
 
The title track opens things up- menacing and huge tom hits from McBrain kick this off. The track then builds steadily in 6:8 time with strong performances and a great atmosphere, evocative of that magnificent cover art. Maiden Japan, indeed. Advance track “Stratego” follows with a relatively short and direct approach- classic Maiden gallop with good lyrics and melody. A winner. Once again, Janick Gers proves himself to be the band's most metal writer (see also “Be Quick or Be Dead”, “Montsegur” etc.).
 
The other advance single follows, which is the excellent “Writing on the Wall”. It's a great, bluesy- almost southern fried- track with a wonderful loping groove and strong vocal performance. The riffs and melodies are great. The solos shine. Ah yes, the solos. They are, as ever, a strong point for the band and strong point of the album. Truly, each guitarist has his own style and some of the work on this record is amongst their best.
 
It is at this point that the album is really starting to shape up into a possible all time classic- or at the very least a later period classic. A moody acoustic intro kicks off “Lost In A Lost World” and for the first time, perhaps, the band really state their intentions on this record; it's a nine and a half minute track. It's moody, morose and in no way concise. In fact, the atmosphere is not at all dissimilar to the depressing and divorce fuelled vibe of “The X Factor”; a maligned but misunderstood album. With hindsight, “TXF” can be viewed for what it was: a transitional record that marked the end of Old Maiden and the start of new- or latter day- Maiden. The Blaze Bayley fronted record was much better than people gave it credit for and “Senjutsu” may just inspire a re-appraisal as it is a close cousin to this work.
 
“Lost in A lost World” may be epic in length and breadth, and the rhythms (of the beast) may be unusual, but it does not take off. The guitar interplay is good- reminiscent of “Afraid to Shoot Strangers”, as are the solos but... It does nothing that we have not heard before. It is very much a later-period- Maiden-by-numbers track, complete with lengthy quiet outro. Fortunately, “Days of Future Past” is a Smith/Dickinson banger with riffs, pace and bite. It's the shortest track on the record and it fairly races by. It's a solid album track and one that would be totally in place on any of the band's best works.
 
Next up for discussion: the production. I've read some chat online about fans not liking the mix, not liking the tones, not liking, well, anything about it. I'm not amongst them. Listening on vinyl, listening on CD, listening on MP3 through my headphones now- it sounds fine to me. In fact, it sounds like a band. Playing in a room. It does not sound like a computer. The drums are real drums. The vocals are belted out. The guitars are not overbearing and nor is the bass. I can hear everything fine as far as I can tell. It sounds like, again, latter day Maiden. I'd rather hear a band than a computer. I'd rather hear imperfection than the opposite. Hey, people love Manilla Road- me included- and their somewhat, er, unpredictable productions were part of the charm. “Senjutsu” sounds massive to me. And surely that was the aim?
 
The first half of the album finishes with the impressive “The Time Machine”. This is epic Maiden done right. Good hooks, hints of sci fi, Bruce going to the top of his range. One production note I will make is the use of synths. They are here. They are all over the album. Piercing, shrill keyboards. Their necessity? I'm not sure. Some colour is fine- “Seventh Son…” proved that, as have most recent albums. However, if they need to be as omni-present as they are, is another question. It doesn't take anything away, really- but nor does it add much. That said, there are some great changes on “The Time Machine” and it is a strong way to round off the first half of the record- Maiden trademarks are in full effect.
 
“Darkest Hour” starts off the second half in a rather downbeat way. Telling the tale of Churchill's lone stand against the monstrous Hitler regime in 1940, it chooses an imperfect historical figure and a supremely dark subject- as the title suggests. Effectively, it's a ballad based around a supremely Maiden theme: doing the right thing, no matter what the cost. It's an allegory of their own career, really; pressing on no matter what, going against the grain, following their own beliefs even if at tremendous risk. It's a good song- but adrenaline junkies should look elsewhere.
 
“Death of the Celts” follows and pushes us into absolutely familiar Steve Harris territory. Historical epic, ten minutes of music, quiet intro, dark atmosphere: it is all here. It is, I suppose, a distant cousin or descendant of “The Clansman” (again, a Blaze era track). It's quite magnificent, really. It is everything that Maiden do well in this vein- once again in 6:8 time signature. There is a quintessential Maiden middle section- complete with a Thin Lizzy esque (circa Black Rose) solo passage. The tempo stays up until the inevitable quiet outro- with Dickinson sounding a little strained to my ears.
 
If one were to look at the track list at this point, it would be realised that this is in fact the first of THREE Harris penned tracks that exceed ten minutes- “Death of the Celts” is actually the shortest (!) of them. It certainly shows confidence. “The Parchment” is the second of these epics and has a signature Harris bass intro that builds to a grim and foreboding riff- which is great. We get a guitar echoing the vocal melody as a counterpoint to the main riff (standard at this point) and a rather atmospheric tale told by Dickinson's grandiose vocals. It's fairly classic Maiden on all levels. The tempo shift comes only for the last two and a half minutes- meaning that there is close to ten minutes of single paced- albeit superbly realised- riffage. Again, there is a quiet outro- but it is mercifully shorter than others on the album.
 
The final statement here is “Hell On Earth”. Again, there is a quiet mood setting intro that stretches to over two minutes, but when the band kicks in it's upbeat and McBrain's single kick work is to the fore. This is Maiden, circa 2021. They may have lost a lot of the speed- but the recognisable parts of their sound are all present and correct. The song makes good use of dynamics and changes without repeating the acceleration towards the end that the band often pull out the bag. It's an epic closer to what can only be described as an epic album.
 
How can all this be summed up?! Well, firstly this is an album of depth and will require repeated listens and some time to fully wrap your head around. I think its merits and flaws will only be revealed in that way- you'll get out what you put in. It's long. I'd say too long. Kevin Shirley or the band themselves must step in at some point and start editing. It seems churlish to complain about getting more music, but it would be more than feasible to lose a couple of minutes (at least) off the majority of tracks here. I don't think the character of the album would be changed by it, either. It is certainly dark, moody, sombre and sprawling- and songs of eight minutes can be described in that way just as easily as songs of eleven minutes,
 
It doesn't have the immediacy of the up-tempo tracks on “Book of Souls” or “Brave New World”. It has more excitement than “AMOLAD”, but less than “Dance of Death” (which was uneven but when it put the pedal to the metal...). It is very ambitious and works as an album- it is not just a collection of songs. It is a dark sibling to “The Final Frontier”, perhaps or the grown up version of “The X Factor”- an album which I listened to directly after “Senjutsu” and suddenly... it all made sense.
 
To compare this to “Piece of Mind” or “Powerslave” would be impossible. This is firmly Maiden from 1995, or 2000, onwards. It's huge and crushing and, dare I say it, quite brilliant. It's a listening experience and one not to be missed by any fan of the band. I'm just so pleased they are still around and still making music- ambitious and challenging music at that. I like all but one of the songs on here- an impressive tally. The return of the kings. Kneel, you dogs.
 
Five years ago I committed to a ranking of all Maiden albums. Today, I do the same- having not reviewed my list from half a decade ago. To be clear, I view all of these albums as at least worthy of your time; even the worst is better than what most bands can even get close to. I recall I failed to pick a top spot back last time out. Right now, I feel that fortune favours the brave so...
 
1). Killers
2). Seventh Son of A Seventh Son
3). Powerslave
 
4). Somewhere In Time
5). ron Maiden
6). Piece of Mind
7). Number of the Beast
 
8). Book of Souls
9). Brave New World
 
10). Fear of the Dark *(special nostalgic placing!)
 
 
11. The X Factor
12). Dance of Death
13). The Final Frontier
14). A Matter of Life and Death
15). No Prayer For The Dying
16). Virtual XI
 
And “Senjutsu”?! Somewhere around the number 10 spot, I think. Time will tell. Objectively, it is a better album than “Fear of the Dark” (which was both more and less of the same) but “FOTD” was my first Maiden record and I'll always love it for that. For further clarity, I've split the placements into brackets of albums- they are essentially on equal footing with others in the bracket. Only the last two listed albums come across as undercooked. Even if “The Clansman” and “Futureal” are amongst the band's great songs.
 
“Senjutsu” is available HERE
 

Band info: Official || facebook

ALBUM REVIEW: Blaze Bayley, "War Within Me"

By: Richard Maw & Nathan Harrison
 
Album Type: Full Length
Date Released: 09/04/2021
Label: Blaze Bayley Recordings

“War Within Me” CD//DD//LP track listing:

1. War Within Me
2. 303
3. Warrior
4. Pull Yourself Up
5. Witches Night
6. 18 Flights
7. The Dream of Alan Turing
8. The Power of Nikola Tesla
9. The Unstoppable Stephen Hawking
10. Every Storm Ends

The Review:

Blaze roars back with another solo album. The ex-Iron Maiden alumni has been building a real head of steam over the last half decade- The “Infinite Entanglement” trilogy of albums (one per year!) was uniformly excellent. A brace of live albums and an acoustic record have been put out as well- all of that within a five year period! You could never accuse Blaze of slacking. Indeed, he has earned a reputation as one of the hardest touring and hardest working singers in the business.

This is metal solo album number ten, so what has Blaze got left to say? As it turns out: plenty. This is a call to arms, a rallying cry for anyone who is down but not yet out. Track by track, it is like this - with my own views articulately and expertly augmented or argued with by none other than Nathan Harrison of The Human Condition and ace Maiden tribute act, Maiden's Shadow.

“War Within Me”:

RM: What an opener! The title track is fast and furious with a gnarly guitar tone and hooks for days. It's anthemic and comes out all guns blazing (ha!). As a first impression, this is good. It's high energy and pushes all the right motivational buttons.

NH: A Blaze mission statement if ever there was one – his lyrics have always been about self-empowerment and nowhere is this more evident than tracks like ‘War Within Me’. Furious riffing from Chris Appleton blends perfectly with Blaze’s assured and confident flitting between a punchy staccato and his usual flowing and powerful melodic approach, his voice still going strong and arguably getting better and better as each year passes.

“303”:

RM: A real stand out track for me. This is a classic tale of derring-do regarding Polish fighter pilots in WW2 who greatly assisted in the Battle of Britain. It's really catchy and exhibits, for me, the best of what Blaze can do.

NH: Blaze has arguably been at his best on recent albums when things have gone ever so slightly power metal (see the title track of “Infinite Entanglement”, ‘Blood’ from “Endure and Survive” and ‘Immortal One’ from the last album) and this track is no exception. Blaze and co can write a damn fine chorus and this one just begs for a huge crowd to sing along. The way the verses pack in their storytelling and lead straight into the choruses with Blaze barely taking a breath is absolutely electric, and Appleton’s solo is one of his finest – more Glenn Tipton than his usual KK Downing-esque frenetic style – which suits the melody-led approach of this track beautifully.

“Warrior”:

RM: After a melodic and clean intro, it's blast off time again. Again it's catchy, again it's full on metal. I think that Blaze's band deserve a special mention here. Three quarters of Absolva are once again present and correct and Messrs Appleton, McNee and Schramm play a blinder. Chris Appleton seems to have hit just the right balance between metal and melody for Blaze's material. The riffs and solos are very strong and Blaze meets their challenge with a powerful baritone performance.

NH: That voice though! The quieter moments like the one that opens this track really show off the nuances of Blaze’s vocal quality – simply goosebump inducing stuff. Introducing the full band is impactful none the less, and the moment they kick in oddly has more in the way of noticeable dynamic range than when the opener gets going – more on this in the mix section later, though.

“Pull Yourself Up”:

RM: Once again, we are in self-help territory here - or metal motivation mode if you prefer. Blaze reminds us that we must press on, we must overcome. Blaze's explanation of this track is interesting and worthy of mention here. The first verse and part of the chorus are owed to a serious motorcycle accident he was involved in just after joining Maiden- what timing! He was told that he would thereafter walk with a limp and that he would not be back to anything like normal mobility for at least a year. Naturally, he had opportunities that he had to grasp. He beat the doctor's prognosis and now exhorts the listener to stop doubting themselves and walk with him. The other lyrics deal with criticism Blaze has faced and how he simply forged ahead. I love this track. It's motivating and quite profound. I can't help but sing along.

NH: Something a little different here, and the experiment pays dividends. The guitar generally stays in the higher register, wailing and soaring throughout, while the bass and drums lock in tightly with Schramm and McNee providing a solid backing to the more wayward guitar approach. Blaze’s rich tones sit perfectly on top of the cacophony to make for a solid mid-tempo foot tapper with a sing along section that stands out as a result of the approach to the rest of the song. Definitely one for the live set.

“Witches Night”

RM: This offers up a kind of mid tempo point - faster than one of the preceding tracks but slower than the others. Nice guitar refrains throughout and a hooky chorus. It's a solid album track, but not a stand out for me.

 

NH: Another slightly odd track, which doesn’t land quite as well as ‘Pull Yourself Up’ thanks to a slightly meandering sag in the middle, but the ideas here are solid and the transition from verse to chorus is surprising every time. Said chorus offers a solid, simple riff but with more guitars working their way around it and making for a really interesting listen.

“18 Flights”

RM: Ah! My first thoughts on this one: SAXON. It is exactly the kind of track that Biff's Yorkshire heroes would and have delivered at any point in their forty year career. The main guitar lick is strong and the verses and choruses are delivered with utter conviction. It tells the story of Blaze and band being caught up in an earthquake in South America and the surrounding chaos. It also contains a stormer of a solo. It's unashamedly fun and bombastic and although it could come across as very Spinal Tap, I find it charming.

NH: Yes, this one is pure ‘And the Bands Played On’! Songs about touring experiences often don’t quite hit the mark, but as a novelty with a cheesy chorus, this is a nice pallet cleanser before the more serious fare of the last few tracks.

“The Dream of Alan Turing”

RM: This is the first of a trilogy of science themed tracks that form a kind of nucleus of the record. Each track deals with a giant of their field and each one is quite different. Turing, of course, cracked Enigma and thus turned the tide for the allies in WW2. That he was treated so disgracefully by the British establishment thereafter due to his sexuality is a sobering and souring epilogue to the life of a man who really can be described as a true hero. The song is great, the subject stellar and this is another standout, if a tad on the short side.

NH: Little pockets of concept or thematically linked songs in albums of otherwise standalone tracks always appeal – this is something that Blaze himself did so well on “Promise and Terror”, dealing with an intensely personal and heart-breaking subject. While these tracks deal with subjects and figures unrelated to Blaze’s own life, the opener of this little trilogy is certainly epic and is fitting for the impact that the three men concerned  have made on the world both during their lives and after their deaths. Alan Turing’s story is presented in a rather dark and melancholic but powerful 3 minute package.

“The Power of Nikola Tesla”

RM: Another giant of science and a champion of the greater good - and again a man who did not get his just desserts or the respect he deserved in his lifetime. It's safe to say that Tesla changed all of humanity with his work. Again, it's a rollicking track with a strong chorus that quite literally screams “POWER!”

NH: Power is certainly the word – this is the standout track of the trilogy and briefly shows off the upper end of Blaze’s range in a way that’s bound to knock heads off. The lyrics frame energy and power as something that Tesla saw in every aspect of the world, and that is translated expertly into the approach the whole band has taken here. Well, they could hardly have written a song about a man so inextricably linked to the popularisation of electricity without a little thunder and lightning, now could they?!

“The Unstoppable Stephen Hawking”

RM: The last of our scientific/intelligent holy trinity, Hawking is a man known to most as the author of the book most purchased and least finished (A Brief History of Time) that exists. Hawking's life obviously chimed with Blaze - Hawking refused to accept his MND diagnosis and confounded doctors by living on for decades longer than the three years he was given. As Blaze pronounces, Hawking was unstoppable and a giant of his time. Verse wise, the lyrics are classic Blaze, if a little clumsy in terms of phrasing. The bridge and chorus more than make up for any shortcomings, though and again this is a track that pushes forward relentlessly, inexorably, towards its conclusion. The avian imagery that Blaze conjures up (“the eye of the hawk”) is quite excellent and the song is a good example of more being more; words, length, guitars etc. It's all there and all gloriously over the top.

NH: It’s impossible not to be inspired by the late, great Professor Stephen Hawking – even without his incredible scientific achievements, the man was a one off, defying all the limitations put upon him by the terrible disease that ravaged his body. Blaze takes Hawking’s story and incredible spirit and uses it as a lesson to anybody who is ever told that they can’t do something. If there’s anything that can be learned from Hawking (other than very advanced physics!) then that is certainly the main candidate. The song uses all 6 of its minutes to great effect and this closes out the trilogy perfectly.

 “Every Storm Ends”

RM: How else to go out but with a big melodic ballad where Blaze gets to sit in his most powerful register and deliver an emotional performance and summing up of all the themes contained within the album. It's melancholy and hopeful at the same time. It's a great closing track and can only fit at the end of the album.

NH: A closer that gets to the emotional heart of the album as a whole and, as stated in a previous piece on Blaze’s work, during these trying times we all live in currently it’s hard not to get swept up by someone suggesting that things might just turn out alright in the end! This one really shows off the versatility of Blaze’s voice, as he goes from belting lines right at the top of his range to low, sonorous and expressive lows. An impressive way to round things off.

Mix and Production:

RM: My only criticism of the album would be the mix. The drums are a little low, the bass a little indistinct and the guitars a little loud - to my ears at least. Blaze and band worked within the limitations they had during, as the BBC keep telling us, an unprecedented situation. The album was recorded using modern technology and digital files being sent from each musician to the other. Blaze and Appleton worked directly together in Birmingham for much of the album's genesis, with Martin McNee and Karl Schramm recording as and when they could. Consequently, the drums have a less than organic sound, but are of course well played and feature all of McNee's trademark rhythms and phrasing. I found that the louder you turn the album up, the better it sounds - which for a metal record is... as it should be! The performances are uniformly great and Blaze in particular really shines.

NH: It feels like a bit of a cheap shot to have a go at the production given the circumstances already outlined and the challenges thrown up by the pandemic, but it is necessary to point out that the production does falter at times here. As previously mentioned, the dynamic range is inconsistent – the title track has practically none when a single guitar becomes a British metal band going at full pelt, but ‘Warrior’ manages to sound impactful in a similar situation. The drums are far too quiet and the guitars far too high in the mix and this makes for an uncomfortable listening experience through headphones, at times borderline painful when cranked up, even through near top-of-the-range B&O cans. However, when heard through a decent speaker, these issues are less evident and perhaps a finished CD or vinyl copy when the album is released may prove a better listening experience.

Summing up:

RM: This is another very strong entry into Blaze's discography. It's more straightforward than any of the “Infinite Entanglement” Trilogy and is relentlessly 'up' in a similar way that “Somewhere in Time” is; it's enthusiastic and energised throughout. There are no bad tracks and most are at the least very good. I hope it wins over new fans as it deserves to.

NH: Blaze has very rarely put a foot wrong in his solo career (the slightly odd “King of Metal” proving the only real dud in his catalogue) and, production aside, he maintains his confident winning streak with “War Within Me”. He could hardly be blamed for wanting to take a bit of a break or perhaps even for running out of ideas after releasing 3 interlinked concept albums over 3 years with tours between each (and not forgetting also that the band still regularly release their own material without Blaze as Absolva). However, it seems that stopping is simply not Blaze’s style and it continues to work in his favour, with this latest release the fourth blinder in a row. Roll on number five!

“War Within Me” is available HERE

Band info: facebook