Here we have Lady Beast, flagbearers of refined Heavy Metal (which I confess is a new one for me). Reading up on their influences and looking at the album art, it leads me to deduce that there is a definite 80’s vibe going on here. Throw in some (hopefully) over-the top vocals, mental leads and powerhouse drumming and we should have ourselves a right old ding-dong, all wrapped up in a ‘not overstaying their welcome’ 35-minute duration.
And lo, they chose metal on the opening bars of The Oracle’s Omen which then descends into an 80’s chug fest. Now, I love this as much as the next man, unless the next man is Fred Durst (was it ever proven he liked 80s metal?) so as much as I like it, are they going to have enough to keep it going?
Well, there are some proper metal vocals going on, ones that you can actually imagine with the poses, the subtle head movements and yes there was a lead break which did the business. I think this is the third or fourth NWOTHM album I’ve reviewed recently and each one of them has been drinking at the well named Iron Maiden, using a cup with the Name H. Sherman stencilled on it.
Through The Eyes Of War doesn’t change a single thing, it doesn’t want to or have to. They have told you what to expect, so either get onboard or leave the hall (poser). La Levine’s vocals have just the right amount of grit to them whilst not losing any of the strength required to carry these songs along and effectively listening to these two songs will tell you what the rest of the album will be like.
Through The Eyes Of War doesn’t change a single thing, it doesn’t want to or have to. They have told you what to expect, so either get onboard or leave the hall (poser). La Levine’s vocals have just the right amount of grit to them whilst not losing any of the strength required to carry these songs along and effectively listening to these two songs will tell you what the rest of the album will be like.
However, if you decide that you are too cool for school then you are going to miss out on some cracking traditional metal that is just unvarnished and unconcerned with your down-tuned bore-fests. This is music designed to take the best from the NWOBHM and then just have pure fun with it. Inner Alchemist is full of ‘those’ harmony parts, galloping riffs and leads that just royal. This is music to have a good time with, and I reckon live they put on a cracking show. They also know how to end a song, something that has become a lost art in recent times.
Starborn represents one of those songs that just as you are about skip bursts into life and takes off, although it feels slightly overlong to get where it wants to get to. Crone’s Crossword puts it right by going for brevity, with a glorious down picked section that comes in around 1 minute 30 or so. It’s absolutely nothing new but is delivered with such panache and is followed by another scorching lead that you can’t help but smile.
Starborn represents one of those songs that just as you are about skip bursts into life and takes off, although it feels slightly overlong to get where it wants to get to. Crone’s Crossword puts it right by going for brevity, with a glorious down picked section that comes in around 1 minute 30 or so. It’s absolutely nothing new but is delivered with such panache and is followed by another scorching lead that you can’t help but smile.
This feeling is the overriding key here, the fact that they are pushing forward under the NWOTHM banner knowing that it may not be fashionable but Jesus I prefer to listen to a thousand albums like this instead of another snooze-fest where we get cleans into growls into shrieks with that cookie-cutter guitar sound. This is just great, it wears its heart on its sleeve (unless they have been cut off, in which case a patch will do) but each of the songs here just powers forward, and I am now of the opinion that Phantom Of The Opera is the most influential song ever, looking at you Witch Lite.
The album touches down with the closing track Off With Her Head and it’s delivered in the way like an athlete approaching the finishing line in first place. It is just unashamed 80’s metal, and if that makes it traditional then I’ll take it all day long and twice on Sunday.
I appreciate that this is not overly serious as reviews can be. There are others that would dismiss this as old-hat (at best) or rip this to bits (snarky for being snarky, at worst) but they would miss the point. This is meant to be a celebration of music that they love, you love and I love. It just so happens that they do it very well, very well indeed and they don’t bother to hide this love at all. This is just good music, end of. 7/10
Defender - Dying To Live (Metalapolis Records)
Something in the air in March, a NWOBHM, sorry a NWOTHM wind that calls those who love traditional heavy metal with certain key changes that emphasise speed to get together and live life to the fullest or leave the hall. So, flying in from South Germany are Defender with their second full length blast of Teutonic traditional heavy metal, Dying To Live via Metalapolis Records.
I think that if you like Helloween, that style of heavy metal then this is going to be right up your strasse. For others who like their metal a little grittier than this, well you might find this lacking, but overall, this is ten tracks of stand up meat and potatoes heavy metal that does everything its supposed to do. Its fast, has explosive leads, drumming that probably involves the sticks being spun across the palm of the hand and most of all is played with a sense of fun. Its like stepping back in time to the mid 80’s when bands like this would have excelled and its great to see that bands are embracing the more accessible musical side of that decade instead of going for the usual suspects of say, Slayer.
It comes in on Dying To Live and then just motors along, dropping incendiary lead breaks and tempos that stay in the red zone and well, that its really. It’s a release that basically positions them as a throwback to a moment in time which may not be relevant to a lot of people in 2025. On the surface of it, it sounds like a throwback to an easier time, where writing songs about driving fast cars, picking up the girls and having massive hair was the order of the day. I’m not suggesting that this is what Defender is about, I think that they lean more into the ‘This is what proper metal should sound like’ camp as this album avoids downtuned guitar and guttural vocals like the plague.
The album touches down with the closing track Off With Her Head and it’s delivered in the way like an athlete approaching the finishing line in first place. It is just unashamed 80’s metal, and if that makes it traditional then I’ll take it all day long and twice on Sunday.
I appreciate that this is not overly serious as reviews can be. There are others that would dismiss this as old-hat (at best) or rip this to bits (snarky for being snarky, at worst) but they would miss the point. This is meant to be a celebration of music that they love, you love and I love. It just so happens that they do it very well, very well indeed and they don’t bother to hide this love at all. This is just good music, end of. 7/10
Defender - Dying To Live (Metalapolis Records)
Something in the air in March, a NWOBHM, sorry a NWOTHM wind that calls those who love traditional heavy metal with certain key changes that emphasise speed to get together and live life to the fullest or leave the hall. So, flying in from South Germany are Defender with their second full length blast of Teutonic traditional heavy metal, Dying To Live via Metalapolis Records.
I think that if you like Helloween, that style of heavy metal then this is going to be right up your strasse. For others who like their metal a little grittier than this, well you might find this lacking, but overall, this is ten tracks of stand up meat and potatoes heavy metal that does everything its supposed to do. Its fast, has explosive leads, drumming that probably involves the sticks being spun across the palm of the hand and most of all is played with a sense of fun. Its like stepping back in time to the mid 80’s when bands like this would have excelled and its great to see that bands are embracing the more accessible musical side of that decade instead of going for the usual suspects of say, Slayer.
It comes in on Dying To Live and then just motors along, dropping incendiary lead breaks and tempos that stay in the red zone and well, that its really. It’s a release that basically positions them as a throwback to a moment in time which may not be relevant to a lot of people in 2025. On the surface of it, it sounds like a throwback to an easier time, where writing songs about driving fast cars, picking up the girls and having massive hair was the order of the day. I’m not suggesting that this is what Defender is about, I think that they lean more into the ‘This is what proper metal should sound like’ camp as this album avoids downtuned guitar and guttural vocals like the plague.
It places a focus on writing songs that fit within a certain blueprint and they don’t stray too far from it. To be honest, I never liked Helloween, or bands that sat on the lighter side of the metal spectrum in the 80’s. Once I’d heard Slayer, Megadeth etc anything else seemed that it was just not heavy enough. I’m older now, and that view hasn’t changed but at least I can appreciate those bands like Defender who are making a fist of keeping the light of NWOTHM burning and I can’t fault them for that. 7/10
Serpent Rider - The Ichor Of Chimaera (No Remorse Records)
With quite the journey through different line-ups, name changes and relocations, Serpent Rider have found time to drop The Ichor Of Chimaera, an album on which the band suggest takes influence from the usual suspects (Black Sabbath) as well as drawing from the Greek black metal scene and in turn push that through a filter that also takes in 70’s rock. Still with me? Good.
My initial take on this was that the vocals via R Villar didn’t match the music behind it and that it felt that they were looking at early Maiden with flashes of that black metal they noted in terms of how they put their songs together. As that first listen wore on, I desperately wished for some vocal gymnastics to really the push the songs forward and to be honest I gave it up. It was only on the second run through that something clicked, that possibly that the overwrought vocal delivery would have been expected and that they sought to subvert it by deliberately going for a colder method of delivery.
Serpent Rider - The Ichor Of Chimaera (No Remorse Records)
With quite the journey through different line-ups, name changes and relocations, Serpent Rider have found time to drop The Ichor Of Chimaera, an album on which the band suggest takes influence from the usual suspects (Black Sabbath) as well as drawing from the Greek black metal scene and in turn push that through a filter that also takes in 70’s rock. Still with me? Good.
My initial take on this was that the vocals via R Villar didn’t match the music behind it and that it felt that they were looking at early Maiden with flashes of that black metal they noted in terms of how they put their songs together. As that first listen wore on, I desperately wished for some vocal gymnastics to really the push the songs forward and to be honest I gave it up. It was only on the second run through that something clicked, that possibly that the overwrought vocal delivery would have been expected and that they sought to subvert it by deliberately going for a colder method of delivery.
Once I’d got that locked in, the album took on a different slant, and the experience changed for the better. The opener Steel Is The Answer is a great starting place, its Metal routes exploding whilst being held in place by those cold vocals. There is some sharp melodic lines, set within what I would call ‘proper’ riffs and it basically sets the tone for the songs to follow. Tempos are raised, but always controlled by R Villar who gradually warms as the album progresses. The title, The Ichor Of Chimaera track nods to Black Sabbath with its ominous harmonies and a methodical pace that just ebbs along, allowing for some old-school riffmongering.
It’s on Matri Deorum that they come into their own, yes it still acknowledges its influences but now we get some soaring vocals added to a frenzied build that hops here there and everywhere, lead breaks that get dropped in on the fly but still fit the music behind it. Its one of those albums where I’m glad that I stuck with it in terms of giving it a fair review, because the later songs follow the same high level of craft that Matri Deorum displayed.
The Hero’s Spirit with Queen-esque harmonies, both with guitar and vocals delivering a heady mix whilst Tyrant’s March goes the throat in an old-school black metal style. Final track, In Spring echoes the most of Iron Maiden, which is no bad thing as they look to take what made Maiden great in the first place and give it a bit of pep. What sets them apart is the vocals, as I’ve said not trying to ape the higher registers or screaming just because they can really works. You just have to work at appreciating it.
Looking online, the band have a lot of ‘tags’ to their name by way of giving you a clue as to what they are about. For me, they do cover all of these from Metal (of course) to epic metal (definitely) and more importantly they do it well. The songs are well built, with an eye for the riff that is entertaining and ultimately engaging for the listener. The music is all there for you to go at, they do exactly what they promised, its up to you to give them a go. 7/10
On My Command - Conquer (Independent Release)
Conquer is the third album from the Brisbane natives which continues along the vein explored with their previous releases. It wears its traditional heavy metal hat proudly and whilst that is one of its strengths, that focus does mean that we plough a field that might not excite everyone that comes across it. Essentially a one-man outfit, each of the songs here are hewn from the imagination of Sean Mackay (Guitar, bass and vocals) with drums supplied via James Knoerl as a session drummer.
The traditional metal approach is nailed on from the start, The Thunder King peeling along at a fair rate and its heads down, arse up with a healthy dose of Iron Maiden but without the vocal gymnastics I believe are required to give this music that added heft that is necessary. I’ll get this out of the way now: The vocals are flat, and delivered in a way that reduces the blistering lead breaks that come our way as the song progresses to its end.
Looking online, the band have a lot of ‘tags’ to their name by way of giving you a clue as to what they are about. For me, they do cover all of these from Metal (of course) to epic metal (definitely) and more importantly they do it well. The songs are well built, with an eye for the riff that is entertaining and ultimately engaging for the listener. The music is all there for you to go at, they do exactly what they promised, its up to you to give them a go. 7/10
On My Command - Conquer (Independent Release)
Conquer is the third album from the Brisbane natives which continues along the vein explored with their previous releases. It wears its traditional heavy metal hat proudly and whilst that is one of its strengths, that focus does mean that we plough a field that might not excite everyone that comes across it. Essentially a one-man outfit, each of the songs here are hewn from the imagination of Sean Mackay (Guitar, bass and vocals) with drums supplied via James Knoerl as a session drummer.
The traditional metal approach is nailed on from the start, The Thunder King peeling along at a fair rate and its heads down, arse up with a healthy dose of Iron Maiden but without the vocal gymnastics I believe are required to give this music that added heft that is necessary. I’ll get this out of the way now: The vocals are flat, and delivered in a way that reduces the blistering lead breaks that come our way as the song progresses to its end.
Its not that they are bad they are not right for this. It is also the case that this is the style that is deployed for the rest of the album, so if they grate on you for track one, then they will not win you over by track 9. Elsewhere, lyrical content is as you would expect but the music behind them is what you expect from a band that is committed to bring you traditional heavy metal. The use of harmony parts are in full effect, down picking, the lot and if there had been a more powerful vocal delivery then we would be having a different conversation.
Putting that to one side, they are some rippers on here, Gateways has that bottom end, rich stomping measure that runs into one of those class thrash arrangements and would be spot-on live and By This Sign is just straight up 80’s classic metal and who can argue with that? There are some great nods to NWOBHM on here – the high energy start of Shoulders Of Giants and that Nicko drumbeat is refreshing when compared the octopus armed drumnastics I’ve been subjected to recently. This is one of the things I really dug, that focused approach with its blended mix of traditional and thrash arrangements and whilst some of the influences are worn on both sleeves (very proudly too) they are always engaging and continue to push the song along.
Putting that to one side, they are some rippers on here, Gateways has that bottom end, rich stomping measure that runs into one of those class thrash arrangements and would be spot-on live and By This Sign is just straight up 80’s classic metal and who can argue with that? There are some great nods to NWOBHM on here – the high energy start of Shoulders Of Giants and that Nicko drumbeat is refreshing when compared the octopus armed drumnastics I’ve been subjected to recently. This is one of the things I really dug, that focused approach with its blended mix of traditional and thrash arrangements and whilst some of the influences are worn on both sleeves (very proudly too) they are always engaging and continue to push the song along.
I think once you get used to the vocals (or ignore them, its your choice) there is some good stuff on here that makes good on their promise of bringing you unvarnished, unfiltered heavy metal. It isn’t ground-breaking but then I don’t think it is meant to be. Fans of Maiden, and by extension classic 80’s metal will find a warm, comforting embrace from On My Command. 6/10
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