The Dagger – The Dagger


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You’d be forgiven for thinking The Dagger, a band featuring former members of Grave and Dismember, might be a bit scuzzy. A bit riffy. A bit, denim-jackety. And, well, a bit Death Metally. You’d be forgiven, but you’d be very wrong. The Dagger (Century Media) swims in a different pool of influences to the past escapades of its protagonists, swinging its pants at Classic Rock and proto-NWOBHM with plenty of Deep Purple, Sin After Sin era Priest and The Who prevalent in the sound.

 

The first thing to note is the astonishing attention to detail. The Dagger doesn’t just reference these bands or that period, it has been painstakingly crafted to sound like it was recorded in the 70’s, finding those classic warm Fender guitar tones, that fuzzy bass groove and that thick Ian Paice pound and tickle on the skins. Vocalist Jani Kataja could well be singing on Very ‘eavy… Very ‘umble both in terms of his own delivery, but also in terms of the meticulously recreated rock sound playing around him.

 

But life is not all aesthetics, and while The Dagger has the tones, does it have the tunes? Opener ‘Ahead Of You All’ suggests so, as does the Mott The Hoople inspired ‘1978’ with its tales of weekend warriors and the Iommi worshipping Mob Rules of ‘Dogs Of Warning’. Elsewhere ‘Electric Dawn’ could have been one of the songs Iron Maiden left behind at the Ruskin Arms as they strode towards a recording contract, and ‘Call Of 9’ is all Blackmore stomp and swagger.

 

But for all the smiles it induces, for all that it is an enjoyable way to spend 45 minutes, you can’t but think that while the sounds can be replicated, for all the homage being paid, one thing that can’t be copied or magicked out of nowhere is greatness. Where are the distinctive, iconic riffs, and timeless choruses of the Purples, Rainbows, Mountains? The Dagger are a good band, losing the listener in a bygone age, but this album holds no ‘Speed King’, let alone a ‘Child In Time’. (Try and) sound like the true legends and you will invariable come off the worse for the comparison.

 

But, when the twin guitars bring in ‘Inside The Monolithic Dome’ like Saxon’s ‘Strangers In The Night’, or ‘The Dark Cloud’ dances like it belongs on a Di’Anno era Maiden album, The Dagger can be forgiven their indulgences in paying reverence to their forebears.

 

7.0/10.0

The Dagger on Facebook

 

STEVE TOVEY

 

 


Lord Of The Riff Tour: Monster Truck – Scorpion Child – Buffalo Summer; Live at Camden Underworld, London


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There’s something about double denim and classic hard rock that just go together. Tonight’s Lord Of The Riff tours is bulging with retro riffs and the crowd outside the Camden Underworld is heavy with beards, beer bellies and Canadian tuxedos. The Co-headliners Scorpion Child and Monster Truck have been taking it in turns to close the night, and tonight the Canadian Truck get the honour.

Openers Buffalo Summer provide a heavy dose of Led Zeppelin love. The South Wales boys aren’t afraid of a sweet melody, and it’s not hard why they’ve been described as Led Zep meets Free. It’s an energetic set played with confidence, and guitarist Jonny Williams is reminiscent of Slash both in playing style and on stage moves.

Hailing from Austin, Texas, Scorpion Child have recently had to switch from a quintet to a quartet after a band reshuffle, but seem no worse for it. Their psychedelic rock is performed with a swagger, and songs such as ‘Polygon of Eyes’ and ‘King’s Highway’ means they come across as a metallic take on all those Swedish Rock revivalists, which is no bad thing. Compared to the 70’s flairs of Buffalo Summer and the shaggy appearance of Monster Truck, Scorpion Child look positively dapper, and you sense on a bigger stage, they’d make a big show of things. Frontman Aryn Jonathan Black is the band’s vocal point. His hypnotising movements and Robert Plant wail hold the attention and hold much of the front row in rapture.

But as good as Scorpion Child were it’s hard to see why Monster Truck haven’t been closing every night on this tour. Back in the UK after support Vista Chino last year, the volume and energy levels of the audience have multiplied before the band have got into the first verse of the opening ‘Old Train.’ Dealing in big sing-alongs, meaty guitars and lashings of groove, the truck are reminiscent of early Black Stone Cherry but with bigger riffs, better songs and less soppy ballads. The Browning EP gets a good showing, ‘Seven Sea Blues’, ‘I Am Freedom’ and the massive ‘Righteous Smoke’ have the audience singing along to every word.

Guitarist Jeremy Widerman is the band’s energetic rabbit, running, jumping and jiving all across the stage and only staying still when he has to provide the backing vocals, while Bassist/vocalist Jon Harvey’s commanding presence means the energy levels hardly drop throughout their set, and numbers cut from debut album Furiosity, such as ‘Sweet Mountain River’, ‘Oh Lord’ and ‘Call It A Spade’ just keep sending the crowd crazy. And when they do slow things down, it’s hard to be impressed by Harvey’s vocal range and control on the soulful blues of ‘For The Sun’ or ‘My Love Is True.’ The crushing closer ‘The Giant’ almost sends the crowd into meltdown as the pit explodes from the front few to almost the whole crowd.

If there’s any justice, all three bands will go onto to bigger things. SC have the compelling frontman, but MT are tonight’s big draw and have the songs and the report with the audience. The band’s motto is ‘Don’t Fuck With The Truck.’ On the strength of tonight’s performance, it’s hard to see anyone fucking with their rise to the top.

 

Monster Truck on Facebook 

Scorpion Child on Facebook

Buffalo Summer on Facebook

 

Dan Swinhoe


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