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: Angel Witch, "Angel of Light"

By: Richard Maw

Album Type: Full Length

Date Released: Metal Blade Records

Label: 01/11/2019

“Angel of Light” CD//DD//LP track listing:

1. Don’t Turn Your Back
2. Death from Andromeda
3. We Are Damned
4. The Night Is Calling
5. Condemned
6. Window of Despair
7. I Am Infinity
8. Angel of Light

The Review:

Angel Witch are probably THE band that most will think of when it comes to NWOBHM bands that are not Maiden, Saxon or Leppard- with the possible exception of Diamond Head, of course. Their debut from four decades ago still crackles with arcane power and Kevin Heybourne remains something of a voice archetype for many trad doom bands. Their reactivation in 2012 with “As Above... So Below” was good- if a little meandering at points.

With “Angel of Light”, the band have delivered a strong and competent set of songs rooted in the early 80's Brit metal scene and with a warm and live production feel that suits the music down to a tee. Not for Angel Witch the pro-tools, triggers and processing of many modern metal releases. This sounds like a band playing their tracks in a large live room with a wooden floor and is all the better for it.

Opener “Don't Turn Your Back” is sprightly and hooky with plenty of punch and speed. “Death From Andromeda” takes a sci-fi turn and is a galloping riff fest- if a little overlong. It is perhaps a small criticism which could be levelled at much of the album; the songs are a little long, but then again, after seven years Heybourne and cohorts must have had a lot they wanted to lay down. It's not like Maiden are known for conciseness theses days and as for Leppard, well...

Elsewhere, the charming aspects of the band's debut are present; Heybourne's excellent wail, the sharp guitar work and weighty riffage. In fact, this record very much picks up where the debut or “As Above...” left off. It is especially pleasing that the rather doomy atmosphere of the debut is resurrected here. “We Are Damned” and “The Night is Calling” are very much cousins to Witchfinder General and myriad other doom inflected bands that came after- and the latter has a really nice riff and solo passage down the back stretch.

“Condemned” and “Window of Despair” pick up the metal pace with direct riffs and structures that will get your head banging, while maintaining that mournful vibe beloved by fans. “I am Infamy” is another rager with a nifty faded in intro. The title track just caps off this confident and expertly played comeback in style.

Thirty nine years on from the debut, Kevin Heybourne has proved he still has something to say musically and has delivered a very worthwhile fifth Angel Witch album. There is no place for disgrace here and this is better than “As Above...” which was in itself a solid and emphatic comeback. The songs may be a little overwrought in places and the band's sound as a whole may be an acquired taste, but for anyone who has ever chanted along to that chorus on the debut, drunk or otherwise, this is a rare and convincing treat. I hope they don't leave it so long next time, as it is clear that there is more music to come that deserves and needs to be heard.

“Angel of Light” is available HERE

Band info: bandcamp || facebook

ALBUM REVIEW: Blaze Bayley, “Live in France”

By: Richard Maw

 

Album Type: Live Album / DVD
Date Released: 01/03/2019
Label: Blaze Bayley Recordings

 

“…twenty storming performances of twenty storming songs by a band and vocalist who deserve every success”

 

“Live in France” CD//DD//DVD track listing:

 

Disc One

 

1. Redeemer

2. Are You Here

3. Futureal

4. The First True Sign

5. Silicon Messiah

6. Dawn of the Dead Son

7. Escape Velocity

8. Fight Back

9. Prayers Of Light

10. Virus

Disc Two

 

1. Independence
2. Immortal One
3. Human
4. Calling You Home
5. Endure And Survive
6. The Angel And The Gambler
7. Man on the Edge
8. A Thousand Years
9. Infinite Entanglement
10. Dark Energy 256


The Review:


Blaze Bayley puts an emphatic exclamation mark on his superb “Infinite Entanglement” album trilogy with this double live album- also available as a DVD and various combinations of one or both formats available.. The twenty tracks here consist of many of the best of the songs from the IE concept albums, as well as a liberal smattering of Maiden classics and the title track from his own “Silicon Messiah” album.


Anyone who witnessed him on the 2018 tour for “The Redemption of William Black” will know what to expect from the set list. The recording itself finds Blaze and the boys at the peak of their powers. “Redeemer” opens atmospherically to a charged crowd atmosphere. It's straight into “Are You Here” and the band are clearly very tight and well focused by the prior months of touring.


By the time that Blaze-era Maiden classic “Futureal” bursts out of the speakers, you will know that you are in for a tour de force live record. Indeed, with Blaze's backing band consisting of three members of Absolva the sound is energetic and the tempos suitably urgent. This live rendition knocks the “Virtual XI” album version into a neatly cocked hat; it has the energy, enthusiasm and vibe that much of that album lacked.


You can hear the crowd in many parts of the record- Blaze getting them involved and keeping them engaged. This is a lesson in how to work a venue's crowd and how to make a gig of any size seem like a stadium show. Blaze delivers a very clear introduction to “The First True Sign” that is clearly meant to be understood by the French fans and this highlights how much Blaze cares about the fans and the crowds- having seen him live a couple of times over the last few years this absolutely shines through in his stage show; whether he be playing Grimsby, Manchester or more exotic locations. Not for him the London elitism of other artists: he and the band give their all at EVERY show.

If I am being honest, I miss tracks from “The Man Who Would Not Die” not being included, but the addition of “Silicon Messiah” almost makes up for it. It's a great song from a great album that was overlooked on release, due to a certain “classic lineup” reforming and putting a record out at the same time. Timing is everything, but there we are. From there we are lucky enough to hear the epic “Dawn of the Dead Son” and the storming “Escape Velocity” from “Endure and Survive”; as convincing a one-two punch as you will hear. Later in the set, we also get the title track.

Naturally, this record being from the tour in support of “The Redemption of William Black” there are a fair few songs from it: “Fight Back”, “Prayers of Light”, “Immortal One” and the aforementioned tracks all feature and showcase just how stiring that record was- quite an achievement to be firing on all cylinders at the end of a three album cycle. The songs come thick and fast- no let up from the band for several tracks at a time and it's clear that Blaze and cohorts are intent on delivering a strong set list, high on value and low on gimmicks.

At the mid-point, we get a committed rendition of “Virus” from Blaze's Maiden days. Truthfully, I never liked the track much on the “Best of the Beast” compilation, but I appreciate it a lot more in this setting. In the latter part of the album, Blaze professes his appreciation of the crowd and his love of being an independent artist. Truly, this independence suits Blaze as he can do what he wants and follow his muse. Blaze gives some heartfelt thanks and some good humour as well in the introduction to “Independence” and then it's back to serious headbanging business.

The latter half of the set is weighted more towards the first record in the “Infinite Entanglement” trilogy and is thus a little more up beat than the first half. This keeps the energy levels up and gives the impression of the band going from strength to strength- no coasting towards encores here! It's a pleasure to hear such tracks as “Human “and “A Thousand Years” (both classics, IMO).

There is also a real curio for fans in the shape of a re-worked version of “The Angel and The Gambler”. The track was much maligned when first released; the endlessly repeating chorus, the parping synth, the hard rock styling... However, I have always quite liked it. Sure, it's over long on “Virtual XI” and synths are an acquired taste, but delivered straight as a grooving hard rock track with audience participation and no synths it WORKS! It's like a step child to AC/DC with Blaze really giving it some vocally. Martin McNee puts in a solid drum solo amidst some serious (dual) guitar pyrotechnics with Luke Appleton of Iced Earth and Absolva joining as a guest.

Now, if you want an unarguable Maiden classic, “Man on the Edge” is here for you. Fast as a shark and twice a deadly this is one of Blaze's and perhaps even Maiden's best. The last three tracks take in “A Thousand Years” (power metal heaven!), the trilogy's title track and “Dark Energy 256”. Blaze's appreciation of the crowd is sincere and made very clear. The in-between song banter pushes some of the song lengths- and is at the start of tracks instead of at the end, so cannot be skipped... but isn't that what a live album is suppose to be?! It is an accurate representation of the shows from this tour and captures the band on ferocious form.

If you ever thought about seeing Blaze but decided against it, get down to the next tour in 2019. You are guaranteed a fully committed performance of many, many classic songs- for a very reasonable price, I might add. There is nothing to not like here: twenty storming performances of twenty storming songs by a band and vocalist who deserve every success. Blaze is out there, fighting the good fight and living his dream. If you buy this album or buy a ticket to a show you help him to keep doing just that and you'll enrich your own life in the process. A fair exchange.

 

“Live in France” is available HERE

Band info: official || facebook

ALBUM REVIEW: Satan, "Cruel Magic"

By: Richard Maw

Album Type: Full Length

Date Released: 07/09/2018

Label: Metal Blade Records

Satan have produced another fantastic heavy metal album, packed full of riffs and great songs sung by a wonderful singer. This should come as no surprise to anyone, though- the devil always did have the best tunes.

“Cruel Magic” CD//DD//LP track listing:

1. Into The Mouth Of Eternity
2. Cruel Magic
3. The Doomsday Clock
4. Legions Hellbound
5. Ophidian
6. My Prophetic Soul
7. Death Knell For A King
8. Who Among Us
9. Ghosts Of Monongah
10. Mortality

The Review:

Satan are one of the more revered NWOBHM bands and also, unusually, have gone on to create fantastic albums since reforming. Both “Life Sentence” and “Atom By Atom” are heavy metal greatness in recorded form and the band are excellent live. They occupy a special place in heavy metal heaven, as they define the NWOBHM sound, in terms of what it should sound like when done absolutely right!

Brian Ross' vocals have always been a strong selling point of this Newcastle band and, for those unaware, the city has more metal to offer than Venom alone. This is their third full length in five years and their return has been welcomed by anyone who ever heard “Court In The Act” and loved it. Musically, then, the band sit firmly along the Angel Witch/Di'Anno Maiden era trajectory with hard rock tropes fitting nicely alongside the metal on offer throughout.

The initial fast pacing of “Into the Mouth of Eternity” sets the album roaring out of the gate and by the time a cowbell crops up in the title track, you know what you are getting: heavy metal. Resolutely old school heavy metal of the highest quality. It says a lot about the times we find ourselves in when I am surprised to not find doom-inflections in Satan's latest offering. This is not doom, or thrash or any other sub genre currently in favour. It is traditional heavy metal, that's it.

Most tracks are pacey, of course- “The Doomsday Clock” is rapid, but possessed of fleet-footedness a la Maiden's “Killers” album rather than the leaden foot of retro thrash. Elsewhere the riffs come fast, “Legions Hellbound” is heavy metal heaven for those listeners out there who either were at The Marquee in 1980 or wished they had been.

The weighty “Ophidian” is a change of pace and brings into focus the fact that the band have opted for the traditional ten track format here. That is absolutely the right move as all songs are focused and tight, devoid of filler and don't stretch beyond the six minute mark. That is not to say that they don't sound epic though, as they often do. Satan have mirrored the trick that Maiden used to do so well, which is to pack in an entire theme into a relatively short space of time and capture the essence of the subject matter (for Maiden, think “The Trooper”). “My Prophetic Soul” sounds like an epic track with its anguish and multiple changes but it packs it all into only four and a half minutes.

Down the backstretch, the album is no less metal, no less accomplished and features material delivered with absolute conviction. “Death Knell For A King” is heavy metal writ large and classic- fantastic track. “Who Among Us” is larger in scale and quintessentially British in its metallic delivery. “Ghosts of Monongah” is another winner; Priest-esque chugging combines with Priest-esque guitar work in general. Excellent stuff.

By the time of closing epic “Mortality” there is no doubt that the band have done it again: Satan have produced another fantastic heavy metal album, packed full of riffs, leads, frenetic bass playing, drums that don't just consist of frantic double kicks and great songs sung by a wonderful singer. This should come as no surprise to anyone, though- the devil always did have the best tunes.

“Cruel Magic” is available here

Band info: bandcamp || facebook

ALBUM REVIEW: Immortal, "Northen Chaos Gods"

By: Daniel Jackson

Album Type: Full Length

Date Released: 6/7/2018

Label: Nuclear Blast

Fans of each era of Immortal will find something that speaks directly to them, and as a beginning for a new era in Immortal’s career, it’s an obviously strong one.

‘Northern Chaos Gods’ CD//CS//LP//DD track listing:

1. Northern Chaos Gods

2. Into Battle Ride

3. Gates to Blashyrkh

4. Grim and Dark

5. Called to Ice

6. Where Mountains Rise

7. Blacker of Worlds

8. Mighty Ravendark

The Review:

The story surrounding ‘Northern Chaos Gods’, Immortal’s first new album in nearly nine years, is all about what transpired during their long hiatus, and the absence of their longtime and charismatic front man Abbath. It’s a difficult thing, trying to move out from under the shadow of someone whose personality and voice were so intrinsically linked with the band’s very existence. On social media, the announcement of this album was plagued by comments from long time fans deriding the very thought of Immortal continuing without Abbath. It felt like an impossibility to them, like trying to imagine Motörhead without Lemmy.

Heavy metal history is brimming with stories of bands trying to continue on without legendary vocalists: Iron Maiden, Judas Priest, and so on. And we know that those stories rarely end with the band continuing to succeed at a similar level once that change is made. But there are exceptions to that rule. The most prominent example of this, at least from an extreme metal perspective, is probably Cannibal Corpse. Corpsegrinder has proven to be a more dynamic vocalist and an equally, if not more engaging live performer. It’s hard to find the basis for an argument that the band’s popularity has suffered without Chris Barnes, as you won’t find any evidence supporting that idea based on comparing sales for last year’s Six Feet Under and Cannibal Corpse albums.

Making predictions for something like this is never easy, but the Cannibal Corpse analogy may hold water still, even though they and Immortal represent different subgenres. Cannibal Corpse’s first post-Barnes album was ‘Vile’ in 1996, an album that was met with mixed reviews from fans. And while it’s pretty likely that ‘Northern Chaos Gods’ will fare somewhat better in its reception, there are some issues with the album that deserve consideration.

The main concern I have with ‘Northern Chaos Gods’ is what I’ll call “going to the same well too many times” with certain compositional choices. In specific, it’s using very similar-sounding triplet-based clean guitar parts in several songs throughout the album. They first appear early on in the song “Gates of Blashyrkh” and show up again and again as the album goes on. Directly related to this is Demonaz’ continued love affair with viking-era Bathory, which in and of itself isn’t a bad thing. But the way that slower, epic sound manifests itself here causes the album to lag somewhat as we get late into the album. By the time “Mighty Ravendark” ends, we’ll have heard the “clean triplet guitar interlude into epic Bathory” device in three separate songs. For those who remember Demonaz’ solo album ‘March of The Norse’, you’ll remember that nearly every song on that album featured the same central rhythm. The man gets a specific musical idea in his mind and isn’t afraid to invest huge chunks of an album to that one idea, exploring it from every possible angle over an album’s duration. The repetition isn’t as difficult to sit through here, but it definitely warrants discussion.

Where ‘Northern Chaos Gods’ shines brightest is when it’s going full speed ahead. The lead single and title track was absolutely the right choice to showcase up front, with its callbacks to the pitch black frenetic energy of ‘Battles in the North’. ‘Into Battle Ride’ is another blast fest, sticking out in particular because it’s the only song on the album in which large sections of it are in straightforward 4/4 time, with the triplet rhythms waiting nearly a full minute before coming into play. “Grim And Dark” is a great combination of the two central styles of the album, with blast beats giving those giant chord progressions some extra energy via Horgh’s blistering speed.

‘Northern Chaos Gods’ is largely a great album. I’ve spent a large section of this review pointing out the album’s faults and hammering Demonaz for dwelling on a certain compositional style, and that’s because I think that’s a valid criticism of what he’s shown us as a composer between his solo album and now this album. But even keeping that criticism in mind, this is still a better album than Abbath’s solo album, which hasn’t held up especially well as time has gone by. Abbath’s album definitely holds the advantage in variety, but ‘Northern Chaos Gods’ is better as a fully realized listening experience. Fans of each era of Immortal will find something that speaks directly to them, and as a beginning for a new era in Immortal’s career, it’s an obviously strong one.

“Northern Chaos Gods” is available digitally here and on CD/CS/LP here. 

Band info: Facebook

ALBUM REVIEW: Visigoth - "Conqueror's Oath"

By: Richard Maw

Album Type: Full Length
Date Released: 09/02/2018
Label: Metal Blade Records

Eight tracks, all absolute killers. Superb production, fantastic playing and performances all around. With “The Revenant King”, Visigoth delivered my favourite album of 2015. With “Conqueror's Oath” they have achieved heavy metal perfection.  . The best heavy metal album of 2018? Count on it.

“Conqueror's Oath” CD//DD//LP track listing:

1. Steel and Silver
2. Warrior Queen
3. Outlive Them All
4. Hammerforged
5. Traitor’s Gate
6. Salt City
7. Blades in the Night
8. The Conqueror’s Oath

The Review:

Salt Lake City's most metal export return here with a blazing follow up to their mighty opus “The Revenant King” of 2015. As I noted in that review: this is heavy metal. Proper heavy metal. Think of the sounds of Priest having a sword fight with Maiden while Grand Magus referees. In fact, words cannot express the utter heavy-metalness of it all. The band has delivered everything I hoped for with this sophomore full length. The galloping and majestic rhythms, the soaring lead breaks, the powerful and dramatic vocals- all are contained within the opening “Steel and Silver” and the album does not let up from there. It pleases me that there are still bands out there like this; bands that keep to the old gods. Bands that rejoice in the defeat of their enemies and laugh at the four winds from their mountain.

It is not often that there is nothing to fault, but I can't find anything here that is not just right. The mix and production is confident and muscular with every instrument clearly audible. Jake Rogers' vocals are even more self assured than on the debut and he delivers a master class here- a powerful singer in a fairly low register, his voice is perfect for this. The songs clip by at such a rate that the album is a focused and vicious raiding party even after repeated listens. “Warrior Queen” is catchy and joyful, propelled along by a very tight rhythm section and duelling guitars. It is five and a half minutes of heavy metal heaven- or should that be Valhalla?!

The band press the pedal to the metal with more regularity on this album; there were elements of doom to be found on “TRK”, but that has been superseded by the likes of the Highlander-themed “Outlive Them All” which is fast and furious, whilst being full of hooks. Naturally, the band are not flat out all of the time and there is plenty of room for acoustic elements, vocal harmonies and swinging grooves through “Hammerforged”. It also has a fantastic central refrain of the mightiest riffage.

“Traitor's Gate” acts as a centrepiece for the record as Rogers invokes the spirit of Ronnie Dio in the melodrama and gravitas of his performance. It builds up slowly, but when it rolls in, triplets blazing, once again metal nirvana is reached. The whole band are playing out of their skins on this one; it's superb with all essential metallic elements present and correct.

The band's tribute to their home town follows- “Salt City” is pure heavy metal rock and roll, expertly delivered and anthemic in the extreme. It provides a burst of carefree enthusiasm with not a revenge plot in sight. There is also great lead playing, as there is throughout the album. “Blades in the Night” follows, with feet pressed to the floor and swords fully unsheathed. Again, it's hooky and powerful in equal measure.

The title track closes this remarkable album in majestic style. It is another slow burning epic with excellent two guitar work and themes that will make your battle jacket be filled with pride. Eight tracks, all absolute killers. Superb production, fantastic playing and performances all around. With “The Revenant King”, Visigoth delivered my favourite album of 2015. With “Conqueror's Oath” they have achieved heavy metal perfection. I have all but run out of superlatives to describe this fantastic record. Iron Maiden are on their way to retirement, Priest are readying themselves for  perhaps just one more foray, Manowar are bowing out and the world is just not as receptive to songs about valour and glory any more. Visigoth, though, keep the flame alive and burning brightly, ready to forge sounds of the purest steel- hopefully for years to come. The best heavy metal album of 2018? Count on it.

“Conqueror’s Oath” is available here

Band info: facebook || bandcamp