 Let’s start Sunday off with something fun. Between the doom and the depressive black metal, we here at the Sleeping Village get, on occasion, a little too gloomy for our own good. The cure for such a self-inflicted diagnosis? Our plague doctor heartily recommended some overt NWOBHM nostalgia...and what kind of plebs are we to deny the good doctor’s word? To that end, let’s talk about High Risk, lead single (and title track) from Blade Killer’s forthcoming debut album.
High Risk is plucked directly from the 80’s. As such, the most common comparison, musically speaking, is undoubtedly Di’Anno-era Maiden. Prominent bass a la Harris? Check. Energetic vocal stylings with just a hint of graceless gruff? Check. Galloping--nay, runaway train riffage? Just let me have that check, please. If we’re talkin’ shameless NWOBHM gravitas, however, Angel Witch, Tokyo Blade, and the ever-fantastical Tygers of Pan Tang might be closer to the mark. High Risk is a track imbued with an undeniably rambunctious energy, a pure distillation of no-nonsense 80’s headbanging glory. No intro is necessary--the guitar kicks right in with a head-bopping enthusiasm. The lyrics, while fairly standard fare, are delivered with a similar gleeful kineticism. This is air guitar-inducing, chorus-belting, demin-stitching music if ever there was, and Blade Killer’s blatant commitment to the NWOBHM aesthetic comes highly appreciated, even in a fairly saturated market. If the rest of the album has an inkling of the balls-to-the-wall determination of its title track, its safe to say Blade Killer have gifted a worthwhile depository into our collective horn-throwing hands. From what I’ve read thusfar, no worries on this front. Lookin’ forward to Nov. 23rd. High Risk will be released Nov. 23 through M-Theory Audio. Check out Blade Killer on Bandcamp.
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 Some demos are rough ‘round the edges, & that is to be expected--but this statement should, under no circumstances, be taken to imply that Soul Grinder’s debut effort is somehow incomplete or unintentionally unfinished. Rather, I’m suggesting that instead of accepting a certain roughness as inevitable, these Portland-based thrashers tied their debut EP to the mast, broke out the trusty ol’ cat-o-nines, & lashed away until there weren’t any tangible edges left. Terraflesh is a wounded & angry beast of an EP, & Soul Grinder has made evident that they are not, in fact, here to mess around. Vocals are the obvious first stop on our trip down Soul Grinder lane. At first blush, the wild-eyed April “Prilzor” Dimmick recalls Benatar at her sticky-sweetest. This carpet is promptly & elegantly pulled out, however, as she switches gears into a significantly more visceral affair. On first-round listens here at the Village, our monkish librarian astutely remarked that for any lovers of medieval literature Prilzor’s shriekish tone is like unto the vox of Grendel’s mother: grisly, rageful, tortured. Her true strength, however, is the uncanny ability to switch between a sensual croon to throat shredding howls within the span of a syllable. As the most effortless display of musicianship Soul Grinder has to offer, it lends a certain bent to the entire package. But that ain’t all to love. Instrumentally, the guitar is clunky ‘n’ chunky, full of hooky leads & (combat) boot-stomping riffs. Timing feels a tad rushed in parts, but that is, undeniably, part of the appeal. As I mentioned several weeks ago, Soul Grinder a just a little discordant, but a whole lot unhinged--& that’s the entire reason we seek out such thrashy ‘n’ groovy tunage. In other words, we’re not here for precision. We’re here for chaos, & in this sense, axeman Alex Avery absolutely delivers. With that said, there are the occasional moments of pure NWOBHM fervor--take, for example, the intro on Hound of Doom, which strongly recalls both Maiden’s trademark gallop & Priest’s leather-clad badassery. Despite the outward appearance of wild abandon, Mr. Kevin Ross does a fantastic job holding everything together in the rhythm section, with drums on the title track worth particular mention. Aggressive & dense, a delightfully bonky moment in the spotlight helps break up the template. I do, as the critic in the room, have a small bone to pick with the songwriting. The EP starts out with its best foot forward, & is, as a result, pretty frontheavy. Towards the end, it feels like difference in delivery--the singsong chorus on Iron Crone, for example--is what keeps the individual tracks distinct, rather than a more fluid & exploratory approach to composition. While not truly a significant issue here, adopting more break-the-pattern moments might prevent stagnation further down the line. But to reiterate, Terraflesh is an effort where sheer energy, not needle-threading precision, is the name of the game. As an embodiment of heavy metal’s bloody take-no-prisoners ethos, this flayed monstrosity of a demo comes highly recommended.
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We provide thoughtful reviews of music that is heavy, gloomy...and loud enough to wake us from slumber. Written by a highfalutin peasantry!
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