Year : 2013
Genre : Hard Rock with a Power Metal overtone
Label : Independent
Origin : Germany
Official Facebook site : > - here - <
Though this Munich based ensemble strictly refers to itself as hard rock, the veteran formation clearly has a keen and eloquent affection towards Iron Maidenesque power metal, even the ever-present tendency of vibrant/colorful instrumental passages that characterize the prestigious Brits, are equally ubiquitous throughout this Steel Balls of Eloquent Heft Straight Out-delivery.
The name of the primordial game is melody driven iron-smithing orchestrated to pretty much perfectly realized-, massively guitar centered production values. The sound is simultaneously beefy, yet skillfully restrained in its naturally rampant and whimsical volumetrics. Track number 5, "I am", gives you great opportunity to immerse in the naked sound - yesyespleaseplease - which doubtless radiates that famous German precision. This type/variant of uncompromisingly high standard is maintained on the spin with an iron fist, and now it really is the matter of the quality of the content itself, which necessarily draws and delivers the true identity of this outing. Read on to know more about it.
Courtesy of its optimally controlled behavior - BZZT! - and crystal clear intent, the record emerges successful at clocking in with 42 minutes of particularly well focused sonic data of a power metal/hard rock hybrid character. The music simultaneously respects its rigorous boundaries while courting those with clear thought and comfortable accessibility - all this without sinking into popesque antics, - talk dirty to me then kill yourself, please? - or million year old harmonic passages and can't-go-wrong fist pump clichés. Instead, the band doubtless has a row of relevant musical ideas to say, resulting in the fruitful exhibition of the paradoxical freshness of the old school ethos. Luckily, the ethos of the old school comes to hunt your awareness down with no remorse attached, and you can see and hear from a galactic mile that it is armed with a competent, relevant blend of all the premiere ingredients.
It bears mentioning that SOME of the tracks - and no more of them - indeed reveal a flavor reminiscent to the hard rock feeling of Aerosmith, minus the classic cocain-romance drama. This variety is a key attribute of the musical fabric, that gives considerable artistic freedom to the group to resonate from all their favorite genre fields. Check out the badass guitar solo in track number 6, "I am the King", - what an impertinent and ballsy title - that surely gives Yngwie Malmsteen a run for his guitta', while the funny Karate Kid-like chorus strikes a masterful balance between responsible - sure, Dad! - highway-fun and relentless cheese-parody.
One thing I'm intent at delivering a separate paragraph to - as you can see - is the vocal presence on the album. The mid-range melodic singing has a highly competent upper range to it as well, which sometimes is showcased in glorious splendor - but I personally want to hear even more of it. There is a whole Bruce Dickinson lurking in fronter/vocalist Oliver Monroe, and it wants to come out like there is no tomorrow. Nevertheless, his current comfort zone sounds stable and trusty as it is.
As noted, this 42 minute declaration propagates a sober understanding of its own character, and it wisely refrains from dragging out any given idea beyond its face-level charisma value. A blend of hard rock with a power metal overtone, with a snippet - and not more - of glam metal ballads await your attention. A relevant, competent effort and a whole lot to sink your teeth into if you are looking for the aforementioned ingredients.
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