Air Raid - Fatal Encounter

7.5/10

For long-time fans, it might be something that will take a while to adjust because the album does evoke many emotions and it is more mellow sounding.

Air Raid are a heavy metal outfit from Gothenburg, Sweden. They’ve been riding the resurgent wave of traditional heavy metal since the 2010s and have made quite a name for themselves in the underground heavy metal circuit. I was introduced to the band through their third album, ‘Across the Line’ and then subsequently caught them live opening at the Up the Hammers festival in Athens, Greece. Seeing them release an album after close to six years caught my attention and I was curious what this gap could’ve impacted their sound or direction.

‘Fatal Encounter’ is Air Raid’s fourth album in a career spanning close to fourteen years so far. As far as first impressions go, I wasn’t extremely satisfied with what I heard and it took me a couple of more listens to understand what the band was trying to achieve. After I sank my teeth into this, it became apparent that there’s a slight change in the band’s sound. Air Raid are still a stellar heavy metal band but with ‘Fatal Encounter’, I feel a drift into AOR territory. The album also feels a bit more emotional, for lack of a better word. Earlier albums were more “straightforward” heavy metal, whereas ‘Fatal Encounter‘ gives each song, each section and each instrument more room to breathe (and shine) and it isn’t all guns blazing riffy heavy metal left, right and centre.

There are a few tracks that stand out for me. Thunderblood opens more traditionally with a powerful chorus (Thunderblood, I’m a rider of the storm) but the guitar solo is very emotive. In Solitude doesn’t refer to the band but it talks about love and breakups. Naturally the music follows the overriding emotion here from the chorus to the riffs. Edge of a Dream showcases Fredrik’s immense vocal talent. It is slightly upbeat with a very obviously catchy and likeable verse-chorus. Let the Kingdom Burn is a slower tempo song which would suit an arena with its heavy palm muted pounding riffs and groove section. The song quickly transforms into something you’d hear glam/hair bands play. ‘Fatal Encounter’ also contains two covers, See the Light by Trazy and Pegasus Fantasy by Make-Up. While I’m not too familiar with the former, the latter is a cover of a track used for a famous anime opening intro (Saint Seiya). Air Raid really makes this track their own, especially with the singing in Japanese. It sounded great!

I can see critics being quick to judge Air Raid’s slightly new direction. It’s almost very Enforcer-esque, who also changed their sound similarly in the later 2010s. Comparisons are inevitable unfortunately. Is it the most original sounding album? Definitely not. Does it have its heart in the right place and is it genuine sounding? Definitely yes. In isolation, I think ‘Fatal Encounter‘ delivers to the ardent heavy metal and heavy rock fan. For long-time fans, it might be something that will take a while to adjust because the album does evoke many emotions and it is more mellow sounding. It shows the maturity of the band and the willingness to experiment with new ideas, so props to the band for that. Overall, I think Air Raid has done a solid job with ‘Fatal Encounter’.

Originally posted on Tempelores.com

Tower - Shock to the System

9/10

Tower’s Shock to the System packs a quite a punch with 70s/80s nostalgia, catchy hard rocking heavy metal tunes and one of the best vocal performances I’ve heard in recent years.

If you’re into heavy metal, then anything released by Cruz de la Sur should pique your interest. Shock to the System is Tower’s latest sophomore album and I was quite excited to listen to this. Tower are a five-piece NWOBHM-inspired heavy rock band hailing from New York. Sarabeth fronts the band with vocals, James Danzo and Zak are the guitarists, James Jones does the drums and Jeff Filmer (though not in the band at present) did bass on the record. Bass duties are currently handled by newcomer Jack Florio. It is a bit unfortunate on my part that my introduction to Tower was through their sophomore album. I did give their 2016 self-titled debut album a couple of spins before sinking my teeth into Shock to the System.

A few spins into the album and I’m absolutely engulfed with old school nostalgia. Tower will light up your ears with their lovely mix of highly energetic, heavy metal inspired 70s hard rock while also delivering some exceptionally soulful moments. Sarabeth’s vocals take full credit for adding a hefty dose of soul to this record. She sounds absolutely powerful with those soaring vocals. Accompanying the stellar vocals, but not to be outshined, is the guitar work. The riffs are sublime and catchy, almost effortless and epitomizes what great heavy rock music should sound like. The entire ensemble with the rhythm section fit perfectly together. This is also largely down to how the album is produced and mastered by Sasha Stroud. It’s a great feat to accomplish if you can bring out the energy of the band through the mix and make it sound as if you’re experiencing Tower live in a basement gig.

Shock to the System doesn’t have a weak song on it. There I said it! It’s quite rare for an album to achieve that in this day and age, especially when you are talking about a traditional sounding band. The band balances paying homage to their influences, working within those boundaries while also sounding original. There’s something that each song offers. Most of the tracks on the album are high on energy and tempo but there are also some tasteful ebbs in the music too. Prince of Darkness is a favorite of mine which starts off slow, full of emotions, and picks up pace two-thirds into the song and ends in a crescendo-like manner. There are also some songs whose choruses could well become anthems like Lay Down the Law which gallops forward after a slow beginning. In Dreams showcases their best guitar work in terms of riffs, cleans and solos. You can clearly feel the mood of the song shift as time elapses with every minute. The album closer, Powder Keg, feels like it could be the soundtrack for a high speed car-chase through deserted towns.

My only regret is not having discovered Tower earlier but it’s not too late for you! Tower’s Shock to the System packs a quite a punch with 70s/80s nostalgia, catchy hard rocking heavy metal tunes and one of the best vocal performances I’ve heard in recent years. Turn up the volume and headbang away!

Originally posted on Tempelores.com

Hittman – Destroy All Humans

9/10

The album is a grower and I can say it’s at par with the legendary releases by the Rÿches, the Fates Warnings and others of their ilk

Hittman popped up on my radar last year at the Up The Hammers festival in Athens, Greece. I witnessed the band’s return after a twenty-five year hiatus. Unbeknownst to me at that time, Hittman are a legendary band of the late 80s, which had so much promise after their debut self-titled album. They can be described as a heavy/hard rock band with a strong leaning towards power and progressive musical elements. Back in the day, there were obvious comparisons with Fates Warning and Queensrÿche. I wouldn’t categorize them as a USPM band but I’d imagine a typical USPM fan would lap up Hittman without batting an eyelid. Unfortunately like most good things that we as a human race don’t deserve, Hittman hung up their boots by 1994, having released two full-lengths and a few demos and singles. But Hittman are now back and if their 2019 live performance I witnessed was anything to go by, they’re a rekindled band with so much vigour, enthusiasm and power.

While I spin Destroy All Humans, I can hear a certain familiarity with the songs played live almost a year and half ago at the aforementioned heavy metal festival. They did preview some of the new songs back then. Before writing this review, I also listened to their debut album, in order to bring out any comparisons with their latest output. If you haven’t been piqued by the earlier genre phrases I threw at you, let me reiterate the band’s style. Hittman does a great job at mixing European power metal melodies with the punchiness of American proggy heavy/hard rock. While the European counterparts try to make everything sound epic, Hittman have these moments of epicness in their choruses and whammy-bar driven guitar leads. But at the same time, the verses and riffs are hard-hitting. The glue that sticks everything together is Dirk Kennedy’s vocals. It’s probably one of the best vocal performances I’ve heard in the recent past. His range from brooding and emotive to powerful air-raid siren like screams is quite simply put – extraordinary.

With regards to the instrumentation, the mixing and production, I think Destroy All Humans is very well recorded and all the instruments are tightly played and mixed. I can hear the rhythm section clear as day even when the guitar solos or the vocals are center-stage. I did have a bone to pick with the production being so clear, compared to the 80s debut’s grainy nostalgic production. But hey, I’m over it and it does grow on you. The instrumentation neither seems overdone nor overcompensating anything lacking in another department. I’d attribute this to the song-writing and arrangements. It’s quite straightforward. Once you have the formula and template down, I suppose it’s easier to piece together all parts and play them to perfection. The twin guitars, the bass and the drums do their part of making this record feel like one cohesive masterpiece.

Probably the only blemish on this perfect record is that I was able to predict what the band was going to do next in a particular song. I’d attribute it to the simple/straight-forward song structures that I mentioned earlier. They do call them “formulas” after all. Is it a drawback? Definitely not. Does it take away anything from the album? Definitely not. This is just a heads up for you so that you know what you’re getting yourself into.

It’s not hard to grasp the lyrical influence from the album title – Destroy All Humans. They deal with injustice, hardships and basically humans being responsible for everything terrible on the planet. I think. The songs that stand out for me musically also have memorable choruses. The track Breathe’s very singable “Just remember to breathe” or Code of Honor’s commanding “Guilty! You’ve been served…Guitly! Of no crime” are total bangers which will get you singing along in no time. Total Amnesia is another hard-hitting track where I’d imagine an entire audience would be joining in on the chorus. Alas, if only live gigs would return once this blasted pandemic ceases.

That said, Hittman’s return album is thoroughly enjoyable, with each track offering something for the listener. I’d even argue that it’s an easy top ten album of the year pick in my books. Although it appeals more to the metalhead who appreciates 80s heavy metal or hard rock, I would encourage others to listen to it as well. In terms of dying subgenres, Destroy All Humans is an important record of our times especially since there aren’t too many bands playing this style with the underground cred as Hittman. The album is a grower and I can say it’s at par with the legendary releases by the Rÿches, the Fates Warnings and others of their ilk. Go ahead and give it a spin!

Originally posted on Tempelores.com

666 - 666

5/10

The tracks are relics from the past and the compilation album put out by Nuclear War Now! Productions will probably make any avid completist black metal fan happy

Before we proceed with the review of this compilation album put out by 666, let’s do a quick history lesson. 666 emerged from the crypts of Tromsø in the early 80s. The majority of the band was formed by members of a punk outfit called Norgez Bank. 666 were heavily influenced by the sounds of Venom and Motörhead. They were probably the earliest band in the Nordic region to be considered proto-black metal, which predates the first wave of black metal that hit the Nordic region (think Bathory, Mayhem). From what I’ve scoured on the interwebs, I learnt that the band’s live performances could well be compared to satanic rituals rife with inverted crosses, blood and other such items which would make any christian quiver in fear. The band was short-lived though from 1982 to 1983, while resurfacing in the late 90s and early 00s to release live studio recordings from the 80s. This brings us to 2020 where the band has released their self-titled compilation album of their live studio recordings. 

To set your expectations straight before you dive in, the live recording quality on the tracks is quite subpar. The instruments aren’t balanced at all, the drums sound like a bad drum machine, the bass is hardly audible and at times the vocals are mixed in too loud. But I reckon, that’s expected and excusable to a certain degree given that all these tracks were recorded live in the studio…in the early 80s…in Tromsø! Despite the poor recording, you can definitely feel the raw energy of the band. I’ll give them that. It invokes a feeling that you are present in the very room they recorded these tracks. The compilation opens with a galloping track titled 666, which sounds as if proto-heavy metal and punk had a baby. Tracks like Lucifer and Ledera seem to be heavily influenced by 70s hard rock. What makes these songs heavier and considered “metal” are the raspy vocals and how they are delivered. The guitar riffs are rather primitive, simplistic and raw. The songs are mid-paced, a few notches slower than 80s Motörhead, if that can give you an idea.   

On side B on the compilation, four of the tracks are repeated but are different recorded versions. Unfortunately, they’re still live studio recordings, so the improvement in quality isn’t that substantial. That said, my favorite track on this compilation is Love and Kiss. It’s my favorite song because it’s catchy, groovy and I can hear the goddamn bass! Heck, the track starts off with a bass lead. The arrangement and the song-writing is also quite commendable (for that time) with the band breaking away from standard the verse-chorus-verse-chorus-solo-chorus template. The second guitar’s licks/solos act as lovely embellishments to the first guitar’s chuggy down-picked riffs. The vocal lines are equally catchy even though I don’t understand a word of Norwegian.

To sum up, 666’s appeal lies in the fact that they are, for lack of a better word, kvlt. I truly wish I didn’t have to use this word but it’s true. The tracks are relics from the past and the compilation album put out by Nuclear War Now! Productions will probably make any avid completist black metal fan happy. Again, to reiterate, this isn’t an out and out proto-black metal album but if you dig 70s hard rock influenced by early Venom/ Motörhead sprinkled with some satanic lyrical themes, then you might appreciate 666. If you’re a stickler for properly recorded albums (even live albums), then 666’s compilation album isn’t for you.  

Originally posted on Tempelores.com

Haunt - Mind Freeze

8/10

I feel that the band is veering off into more radio-friendly territory. They are an easy listening band and Mind Freeze is more easy listening than their previous two efforts.

Haunt is the brainchild of Trevor William Church of Beastmaker fame. When Trevor wasn’t busy writing Sabbath-inspired doom riffs with Beastmaker, he delved into the depths of 80s traditional heavy metal and in that manner, Haunt was born. What started off as a solo-project, Haunt has now blossomed into a full-time band with an active touring schedule. They have two critically acclaimed albums under their belt and in certain circles, they’ve become poster boys of heavy metal. It would be unsurprising to see their albums listed in the ‘best of’ lists of 2018 and 2019. In that sense, I was a bit surprised to hear that Mind Freeze was being released this year! I had a lot of questions – A third album in three years? How is the band churning out songs so quickly? Is the quality going to take a dip? Are these rejected ideas from the first two albums? That’s what I’m hopefully going to tackle with this review. 

If you’re unfamiliar with Haunt’s musical style, they play heavy metal characterized by melodic riffs, catchy singalong choruses and twin guitar solos. Some tracks may border along hard rock territory but in essence, they play heavy metal. Their previous album, If Icarus Could Fly, was just that – no frills heavy metal and thoroughly enjoyable. With the context of my aforementioned questions, I started to listen to Mind Freeze. A minute into the album, my mouth was agape with a pleasant surprise. I had to let the entire album sink in a couple of times before I could form a strong opinion. My first impression was – “What the synth?!” The album’s first track Light the Beacon opens with a synthy-organ intro. It creates a somber atmosphere and sets the tone for the rest of the album. The lyrics are instantly catchy and memorable, making you sing along – “To all the loved ones that have fallen, light the beacon of remembrance”. This is the Haunt alright; they’re continuing from where they left off.

As you progress forward with the album, you’ll hear that the synth sound becomes a larger part of the song structures. They are by no means overpowering. In a way, they form a layer which complements the bass and rhythm guitar parts. They also come up during some of the slower interludes. I wholeheartedly support this band’s direction primarily because I’m personally a big fan of 80s retro synth and organ sounds tastefully done in the context of heavy music. The pacey tracks of Hearts on Fire and Fight or Flight will keep older fans satiated as they pack a relatively harder punch. They’re possibly the two most hard-hitting tracks on Mind Freeze. The verse in Have No Fear sounds like a soft rock ballad but when the chorus kicks in, it turns into a galloping heavy metal extravaganza. The guitar solos on the album are probably the highlight for me. They elevate the songs to new levels. For example, I would rate Voyager to be a “decent” song but the section from the interlude where the song builds up to a guitar solo crescendo-ing, makes for an excellent album closer. The twin guitar solos on Saviors of Man, ups the tempo on an otherwise fairly mid-tempo paced song and it’ll get you air-guitaring in no time. My favorite track on the album is the album title track, Mind Freeze. The combination of the riffs and the mournful synths in the verse make it delightfully brooding. The song has also has the most singalong-worthy chorus – “It is freezing in my mind. The winters kiss has made me blind.” Mind Freeze is the longest track on this 38 minute long album. 

While I’ve gushed eloquently on why Mind Freeze is indeed an album worth listening to, I’ll try to play devil’s advocate now. If you’re looking for heavy metal that’s gritty, raw and balls to the wall, then Haunt is not for you. I feel that the band is veering off into more radio-friendly territory. They are an easy listening band and Mind Freeze is more easy listening than their previous two efforts. It’s neither a bad nor a good trait to be honest. But I will commend the band for experimenting and expanding their sound with synths. It shows progression and the willingness to try something new without being overtly risky. Overall, I’d have to say that 2020 has started off quite promisingly with Haunt’s latest album. Go take a gander, it’s out now!

Originally posted on Tempelores.com