While Blazon Stone’s sixth full-length continues down their established path of Running Wild emulation, it’s also the first they’ve released as a full-fledged band. In contrast to past albums that had bandleader Cederick Forsberg recording most of the instruments himself with whoever was available to sing at a given time, Damnation (Stormspell Records) sees him just sticking to the guitars this time around. A completely new lineup has been assembled that includes a new singer, a new drummer, and even Crystal Viper bandmate Marta Gabriel on bass duties.
Having released six full-lengths and other assorted releases in just five years, it’s only inevitable for Haunt’s output to start getting samey. Their first (and probably not last) album in 2021, Beautiful Distraction carries on the polished, synth-laden variant of Heavy Metal last seen on 2020’s Mind Freeze and Flashback. Fortunately, the formula is still enjoyable with tracks like ‘In Our Dreams’ and ‘Face Of Danger’ offering uplifting hooks while ‘Imaginary Borders’ hits. It’s rather strange to see new versions of ‘Hearts On Fire’ and ‘It’s In My Hands’ considering their appearances on prior albums, but their later placements in the track order ultimately amount to inoffensive inclusions. As interchangeable as these albums have become lately, fans will still find their favorite pleasantries on full display.
7 / 10
Witchseeker – Scene Of The Wild
Like 2017’s When The Clock Strikes before it, the second album from Singapore’s Witchseeker offers high octane Speed Metal with a certain Hard Rock sensibility. That latter element is especially pronounced on Scene Of The Wild (Dying Victims Productions) as songs like ‘Rock This Night Away,’ ‘Sin City’ (Not an AC/DC cover), and ‘Tokyo Nights’ among others are packed with catchy singalongs and frolicking beats. Fortunately, there’s still enough rawness to go around with the tempos often opting for total intensity, the vocals having an endearingly untrained quality and a filthy as hell bass tone. It may not be a serious gamechanger but another fun listen for fans of Enforcer and White Wizzard.
8 / 10
Significant Point – Into The Storm
Significant Point’s debut album follows in the footsteps of their countrymen in groups like Loudness and Anthem, but their approach to Speed Metal ends up feeling more German than Japanese. Songs like the opening ‘Attacker’ and ‘Riders Under The Sun’ show strong influence from Running Wild and Walls Of Jericho-era Helloween with their blazing guitar runs, flamboyant harmonies, relentless drumming, and unhinged yet melodic wails.
There’s also room for more Classic Metal leaning fun with ‘You’ve Got The Power’ and ‘Night Of The Axe’ offering some in your face optimism. The more epic touches on ‘Running Alone’ also make for another highlight of a closer. Into The Storm (Dying Victims Productions) may be rather rough and tumble for some fans, especially when it comes to the vocals, but comes strongly recommended to those who like their Power Metal with extra grit.
Wacken Open Air’s 2018 festival just concluded and by all reports, it was another banger. In a news story reported by Deutsche Welle, two elderly German men escaped from their nursing home on to attend the first day of Wacken Open Air festival on Friday, August 3rd. The nursing home contacted the police after it discovered that the men were missing from the facility. The men were later found at 3 a.m. at the heavy metal festival, which celebrated its 29th anniversary this year. Wacken Open Air sold out once again, with more than 75,000 metal fans in attendance. Headliners include Judas Priest, Danzig, Hatebreed, In Flames, Running Wild and Arch Enemy.Continue reading →
Two young musicians – singer Chris Boltendahl and guitarist Peter Masson – are trying to settle upon a name for their fledgling heavy metal band. The choices on offer are the perfectly reasonable Grave Digger, and the wonderfully inappropriate “Gas Chamber”. Hmmm…
Sensibly, if somewhat disappointingly, the pair decides to resist the temptation of siding with their wacky German sense of humour and go with the former…Continue reading →
Having recently reissued classic albums by the likes of Kreator, Voivod, Celtic Frost, Tankard, Running Wild, and Skyclad, Noise Records continue raiding their metal pantry, this time with three albums by German thrashers, Deathrow. Continue reading →
If ‘Riding The Storm’ from Death or Glory, the album that closed the first chapter of Running Wild’s career as well as being the chronological end of the first batch of Noise Records/BMG’s reissues, saw the band absolutely perfect their main songwriting style, sixth album Blazon Stone saw them kick off a run of unprecedented consistency and quality. By now armed with a recognisable, cohesive and distinct sound, for the next four albums, Rock n’ Rolf dragged Running Wild to a level of Heavy Metal excellence that, though predictable stylistically, was welcomed with open arms, raised horns and strained voices. During this period, Running Wild became masters at their craft, even if they had not yet perfected the art of the photo shoot (seriously… the Labyrinth style costumes and volumized bouffants have not aged well…)Continue reading →
For some of us Heavy Metal fans of a certain vintage, there exists a memory most tactile and warm; that of visiting record shops that sold vinyl by the rack load, and bloody cheap too. And one Saturday morning while absconding from Spanish GCSE duties, I stumbled up Running Wild’s Branded and Exiled in Time Records, going for less than the cost of a portion of chips (an additional option that was no doubt taken up later in the day).Continue reading →
The list of acts who can be linked to Metal legends Helloween through their band members is really quite an impressive one. Masterplan, Running Wild, U.D.O., Krokus, Accept, Iron Savior, Savage Circus, and Freedom Call have all featured one or more of the German pumpkin botherers at one time or another, not to mention obscure side projects like Shockmachine and Palast, and a frankly ridiculous amount of collaborations and guest appearances.Continue reading →
Coming from the melodic end of thrash, and with eight high-topped feet planted in speed metal, Helsinki’s Ranger impress with their (rising) force, and don’t mistake the proliferation of melody for any indication that there is to be any let up in intensity or intent. With nods to pre-pirate Running Wild, and ploughing a similar furrow to Enforcer, albeit with a less rocky overtone and more of a heads-down-see-you-at-the-end vibe, Where Evil Dwells (Spinefarm) may be the band’s debut full-length, but this is an album forged in furnaces that have been burning for 35 years.
Using Dark Angel’s Darkness Descends (Combat) as a template (7 songs, sub 40 minutes, track 6 being a lengthy 8 minute plus thrashepic, track one being a lesson in extended thrash and the second longest track) is not the worst prototype any band could use, and musically the band pull from the melting pot some nice Di’anno era Maiden twin leads, especially in ‘Defcon1’, amongst the thrashing Sodom-y. Elsewhere there are enough variance of thrash and speed metal and melodic refrains to maintain the interest; ‘Phantom Soldier’ along with a nice Eastern-tinged solo and good movement between solid chugging, and riffing and all out thrashing, borrows very heavily from Kill ‘em All (Megaforce) and in particular ‘Seek & Destroy’ (as well as lifting more than a lyric from ‘Disposable Heroes’), while closer ‘Storm of Power’ is a relentless 3 minute thrash battery to bring things home. Dimi Pontiac provides yelps and squawks as if possessed at random intervals by John Connolly – a “thing” that bands do that personally grates a touch, but are a staple trope of the speed metal oeuvre – but otherwise delivers with confidence, reminiscent of So Far, So Good… So What (Capitol) era Dave Mustaine, sneer and all.
All in, though, a very solid first outing for Ranger that will do more than satisfy those whose tastes are this way inclined. It is nothing new, but here’s where I have to leave my retro-hang ups at the door and buckle my bullet belt on instead, cos it doesn’t just do what it says on the tin. Ranger, with their melodic breaks and mid-tempo deviations, do go some way to standing out and honing their own identity.
And who can argue with a hand-drawn logo and an album cover with big fucking skulls on it!
It’s a weird universe where Babylon Whores and earthtone9 are only allowed to release three albums, despite being interesting, unique and intelligent bands, distinctive and critically acclaimed who undersold and vanished into the ether (only to return years later to suffer the same fate) and Grave Digger get to release seventeen albums of middle of the road uninspired dross.
Raise your fists and yell… “Fuck off!” For no-one’s favourite band are back! After 30 years of peddling (slightly “harder” than) Running Wild, Judas Priest and Blind Guardian speed and power metal, and 18 years since their best album Tunes Of War (GUN), the ‘Digger release Return Of The Reaper (Napalm).
The band is clearly capable of being competent. Axel Ritt can chug, widdle, and chuck out a bog-standard old metal riff with the hordes. Chris Boltendahl is, as always, a slightly more tuneful Cronos, though notably hasn’t improved his range or delivery over the years, and Stefan Arnold holds down that double-bass and uptempo snare beat that all speed metal requires.
Presenting eleven more predictable slabs of dated speed metal, the German quintet are so deep in their comfort zone it would be surprising if they got off the sofa while recording. Everything is exactly as expected. ‘Satan’s Host’, possibly the pick of the tracks on offer, sounds like an off cut from Running Wild’s early 90’s output and the remainder is Teutonic 80’s speed metal by numbers with choruses and lyrics so cringe-worthy most teenage thrash bands would have binned them off.
I fail to see the validity of Grave Digger as a current recording artist. They’ve had plenty of chances to say what they’re trying to say, and it wasn’t interesting the last ten times. I wish the band members no ill will, and if people are continuing to support them then fair play to them, why should they pack it in and retire, I just cannot understand who still buys the records of one of the most pointless bands in existence. By all means, tour, do festivals, play the “classics” (do Grave Digger have any classics other than the one about bagpipes?), but no record collection is crying out for a new Grave Digger album in 2014.
