Reviews: Farseer, Black Diamonds, Sanhedrin, Eulogy (Reviews By Matt Bladen & Simon Black)

Farseer - Crowned By The Hammer (Self Released) [Matt Bladen]

R.I.P Farseer 2007 - 2022

Since their previous record Fall Before The Dawn a lot has changed in the Farseer camp, David (guitar) and Baz (bass) left the group in 2021, while this album was in the mastering stages leaving just Bisset (vocals), Micah (guitars) and Alasdair (drums) as the sole trio. This record was supposed to be the two members swansong with the band, however as the album neared completion the band decides that Farseer would come to an end with Crowned By The Hammer. So what have this Glasgow metal crew left us with as their legacy? Well their debut full length brought lots of Teutonic Helloween influences, with touches of NWOBHM and speed metal too, Crowned By The Hammer retains these influences but it also brings in thrash and the harder edged American style of power metal. 

This latter sound is encapsulated on first track Into Oblivion which is cinematic and gets everything going with some thrashing riffs, the guitar duo of Micha and David showcasing their power. Following on from this is The Valient Dead, which is a speed metal explosion that's built on a crushing rhythm section of Baz and Alistair it has a really heavy backing but also tonnes of melodic lead playing. There's a lot to this record, it's more diverse than its predecessor, touches of Blind Guardian come on the proggy Calamitas where Bisset's vocals are used well against the off-kilter riffs, though the synths on it sound a bit like a child's toy. As both a follow up and a final album Crowned By The Hammer stands up as a way for Farseer to cement their legacy as a band. 

With the dramatic Grief Is The Price Of Love which sits in the middle of the album is a Iron Maiden style epic, the battering Karaethon is one of the picks on this album and King Forevermore is a dead ringer for a Nevermore song. I could go on about the myriad of influences on this album but what we have here is the final testament to a bloody good UK metal band. The members will hopefully go off to other things with other bands but the legacy of Farseer will forever be kept by Fall Before The Dawn and Crowned By The Hammer. 8/10

Black Diamonds - Floor 13 (Metalapolis Records) [Simon Black]

I’ve not had the pleasure before, but it seems that Switzerland’s Black Diamonds have managed to make a nice little dent in a scene that these days seems to be dominated by more Northern European acts. Whilst this more traditional 80’s influenced hard rock and melodic metal isn’t for everyone, it’s still got an incredibly loyal fan base and mini festival circuit of its own sufficient to allow acts in the genre to come and go like hairspray was still readily acceptable in public. The fact that this filler release until full studio album number five comes along has even happened underlines this point somewhat, but hey - they also have a new guitarist in Chris Johnson to run in, so a delta release like this makes perfect sense.

What we have here are a number of studio and live cover versions, some live renditions mainly of tracks from 2021’s No-Tell Hotel album and the odd acoustic track thrown in for good measure. The first thing I have to note, is just how damned good even this stop gap material actually is. I had not come across the band before, but on the strength of this listen I’ve already gone back and had an archival rummage, and have to say I’m impressed.

First off, the quality of the performances is top notch here. Live recordings on these sorts of release can be a bit hit and miss, but the quality of the mix and sound is really crystal clear, allowing all the players space to breath and deliver … and deliver they do. Vocalist Mich Kehl has an incredibly powerful voice and an even more charismatic presence. Last album’s title track, along with Turn To Dust and My Fate get the live treatment, but I also loved their rendition of Dio’s Rainbow In The Dark – a track covered often and butchered frequently, but here rendered with love, respect, polish and vocal credibility.

The Gary Moore/Phil Lynott classic Out In The Fields is also giving a loving rendition, as is Jumpin’ Jack Flash, although I’m not sure the down-tuning does it any favours and in fact the only track that’s under the par is a reworking of an early staple of their Black Thunder. The acoustic version of Reaching For The Stars however, is absolutely fab, and stands head and shoulders above its original version, making this a worthwhile collector’s edition for this track along. I’m not sure we need the behind the scenes track either, but overall I’m loving the rich sound and charismatic delivery this band have to show whilst we wait eagerly for album number five. 7/10

Sanhedrin - Lights On (Metal Blade Records) [Simon Black]

Brooklin based Sanhedrin like many acts have had their plans put on hold over the last two years. This crucial third album got completely shanghaied and like many of their peers the band have had to learn the art of remote writing and recording. That’s had a very strange effect on their sound, which to this point had sounded intimate, fresh and garage-studio in its tone and immediacy. To be honest if you compare this to the sessions of 2019’s The Poisoner album, it sounds slightly more flat and lacking in energy despite the vastly improved production sound. What they gained in technical sound-capturing they lose in edginess and that slightly dangerous ‘as live’ feel of the predecessor. 

Musically this record is still very clearly from the same act though, retaining the same complex yet subtle song arrangements and yet it is more cohesive and structured than what went before. Added to which Erica Stoltz’s vocals feel very different this time out. This time she is singing in a much lower key, with a more guttural edge, which gives a more Rock ’n’ Roll feel to things, but loses the enigmatic haunting quality that attracted me to them in the first place. When you get over the glaring contrast and sound from the past, you can then start to listen to it for what it is, which is a highly engaging and much more strongly written piece of work. 

They may have lost some of the rough edges and some of the mood, but the songwriting is a vast improvement and I find myself enjoying it somewhat despite my reservations about the change of direction. That home studio feel may have gone, but what replaces it is a much tighter delivery machine and the chance for the songs to step forward a bit. 6/10

Eulogy - Live & Raw (Self Released) [Matt Bladen]

Live & Raw is a three track EP from South Wales heavy rockers Eulogy recorded featuring two new songs Fading Sun and Breathe along with a reworked version of Back To Life. Now this is a pretty apt album title as these tracks were recorded in a live setting in front of a crowd so the trio of tracks feel like a shirt gig completed with between song banter, giving you a feel for what Eulogy do on stage. Now a heavy rocking four piece they bring a radio friendly style of heavy rock with some great vocals that are heard very clearly even on top of the slightly muddied instrumentation. 

So Fading Sun gets us going with a Metallica-like riff, Breathe brings a touch the American metal scene as it slows things down, finally Back To Life closes the EP with a song that they have played numerous times live but here it does sound a bit more powerful than before. Live & Raw is an EP that keeps Eulogy's music out there before the release of their new album. Live & Raw is a meaty morsel that will keep hunger at bay. 6/10