Having impressed with their new tracks within the EP, The Abyss Vol. 1, last year, it the first of a planned trilogy of releases building towards their new album, UK metallers Hamerex was put on hold by its members. From that decision vocalist/guitarist/songwriter Steve Blower quickly took the opportunity to begin working on his own solo project. The following November saw the Facilis Descensus Averno EP released, its presence evolving to first album Back in Hell, a release sure to arouse the instincts of any heavy metal fan.
As mentioned, Back in Hell has grown from the seeds of that first EP, better recording equipment and fan funding allowing its songs to grow and be improved and join a host of new tracks within Blower’s debut full-length. With eleven slabs of heavy metal bred, classic metal spiced proposals, the album was initially planned for release late last year but with severe wrist injuries preventing Wakefield hailing Blower, who is truly a one man project playing all instruments and creating its art, working on the drums Back in Hell was put back by five months or so. Co-mixed by Blower with Andy Firth, who also did the mastering, it is now poised to uncage its roar.
The album’s title track is the first to grip ears and attention, the opener immediately a surge of riffs and hungry rhythms as infectious as they are rapacious. Familiar classic hues are openly embraced within its lively canter, Blower’s vocals equally unapologetic in their old school metal/nwobhm influence yet quickly the song establishes its own character and that in the overall sound of the album.
The great start is only matched by The Whisperer and its equally tenacious exploits. As with the first song, there was no escaping the persuasive presence and incitement of riffs, the guitar a boisterous yet fierce conjuror alongside another lively vocal cajoling from Blower with subsequent hooks and melodic flames only adding to the track’s easy success on ears and appetite.
What’s Left of Me has an eighties metal breath to its opening holler which is soon immersed in the more voracious traits of the song but is never quite devoured to add further flavour to the traditional breeding of the encounter. Though not quite hitting the heights of its predecessors for personal tastes it is a magnetic affair from start to finish before being fully eclipsed by The Prophet. The following track immediately had the imagination engaged as its shadow thick crawl into view comes rich in intimation. The slowly revolving groove at its heart is pure melodic liquor, continuing to intoxicate as the track weaves its temptation and Blower unveils his guitar craft and enterprise to its fullest depths. The song is superb and quickly takes favourite track honours never relinquishing that spot to its following companions.
Certainly it is tested at times though and swiftly as Arabian Nights shares its swarthy, darkly lit instrumental adventure. It has a heroic breath to its drama and emprise shaped by guitar intrigue, its cosmopolitan theatre of suggestion manna to this imagination while the similarly instrumental Out of this World and after that, The Midas Touch only kept ears, thoughts, and pleasure as enjoyable busy. The first of the two has a Celtic whisper to its melodic narrative, a whiff of Horslips at play early on though soon just a thread it is evocative and multi-flavoured landscape whilst its successor starts with a voraciously heavy trespass from rhythms and riffs but again a welcomingly contagious one even as melodic and sonic intimation paints a deeper palette of sound for the imagination to relish.
Together the four tracks provide the pinnacle of the album for us but in a landscape never sliding too far away in strength as the likes of Twisted Evolution, with its compelling lowly slung heavy grumble and conspiracy of sonic suspicion, and the eventful The Slain / Ties that Bind easily prove. The second of the pair coaxes keen attention as an evocative melodic tempting in voice and guitar takes little time to escalate in intensity, urgency and diversity; riffs and rhythms colluding with a brooding bass and the hearty lungs of Blower. There is volatility to it which if never quite erupting gives the song a great edge in tone and theatre and helps a track which maybe again struggled to match its predecessor do nothing less than enthral and please.
The final pair of the seriously compelling Haunting Misery with almost predatory riffing shaping its warrior like presence and the fiery classic metal powerhouse that is the Maiden-esque The World is Ablaze bring the album to a rousing close. Both tracks sparked eager participation in spirit and body and alone left a lingering lure to dive swiftly back into Back in Hell.
How long we will have to wait for the next instalment of Hamerex adventure time will tell but Steve Blower will ensure the wait is not going to be a fruitless time and that the band is going to have to go some to match the qualities and pleasure of his first album.
Back in Hell is scheduled for release on 25th October 2019 with a Special Edition which includes the Facilis Descensus Averno disc also available; pre-ordering available now @ https://steveblower.bandcamp.com/album/back-in-hell
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Pete RingMaster 03/10/2019
Copyright RingMaster: MyFreeCopyright
The EP opens up with Meet My Standards and instantly hits its stride and groove as riffs and rhythms cast a familiar thrash incitement upon the senses. Its voracious swing just as urgently got under the skin, setting up body and appetite for the subsequent trespass of familiar yet as suggested freshly animated thrash enterprise. As arousing as its assault is there is also a predatory essence which particularly stalks the listener in certain moments before One Mouth Two Faces brings its own rapacious canter and character to the fore. Forbes’ bass particularly grabbed the appetite but no more than the insurgent riffs and intrepid wires of the guitars and Kamal’s potent tones, it all resulting in a track which easily splattered the spot.
That predatory air retains its presence within The Demagogue, the following song also a court of threat and contagion which almost swaggers around ears as the guitars spin their sonic threads and rhythms pounce. Like a fusion of bands like Testament and Slayer, it hits the spot; increasing its temptation as calmer climes are ventured and melodic intimation embraced. It’s subsequent rising heat and intensity brings it back to its original sonic inference before Saviour explores an even darker trespass of menace and seduction. As we suggested, Infrared is not set on reinventing the wheel of thrash metal or even their core sound but there is a bold lining of adventure and imagination which makes their music and especially this track stand out.
It is a potent and enticing start Dead On Arrival continues with its bristling and irritable but fiercely infectious attack. Leading up to its virulent chorus, the song commands eager attention but grabs it like a puppeteer with a focal point which has neck muscles and fists as involved as vocal chords. Around that beast of a chorus, the guitars weave a web of enticement as rhythms again prowl and pounce with anthemic prowess, the track real evidence of the band’s growing and evolving sound whilst stirring up the senses and attitude with prime thrash volatility.
The opening whirl of guitar in The Answer had ears totally enthralled, its craft irresistible and continues to tempt across a song which to be honest otherwise did not make the same impact as its predecessors yet was the centre of attention in its increasingly enjoyable company before Crisis of Hope takes centre stage. It too makes a transfixing entrance, its hook fuelled lure Skids like and subsequently coring an emerging Jane’s Addiction-esque stroll. As the previous song, it was bit of a slow burner on ears though making a more than decent first impression, but grew minute by minute, listen by listen into another highly enjoyable encounter within Dawning if still missing the heights of the first trio.
The epic Thuribles Veil Part 1 is next, ten minutes of carnivorous riffs and grooves courted by just as predacious rhythms as throat raw vocals merge with harmonic beauty and melodic suggestiveness. The track is a cauldron of perpetual intensity, mercurial aggression, and compelling imagination, a playground for ears and thoughts even without the direction of lyric and voice. To be honest, that pretty much sums up the whole of Pallid Reflection and though familiar elements still emerge it would be fair to say they are treated with an invention and flair which defuses familiarity.
Presumably across the band there is a wide range of inspirations; are there any in particular which have impacted not only on the band’s music but your personal approach and ideas to creating and playing music?
