'Crisis Has No Prejudice' EP
Release Date: 23rd November 2014
Roger Berzerk Fauske
Just for a change, my latest review doesn't involve the mountainous vistas of Scandinavia but the, err, not so stunning vistas of the West Midlands and Nightblade.
As a brief intro, they have been around since 2010, and have released a couple of albums with another one due for next year. They have had some fairly high profile gigs, supporting Uli Roth, Diamond Head amongst others so before their next album we can assume they want to keep the interest going with this release.
Before I get on to the music, I have to get one gripe off my chest and this really has nothing to do with the band musically, more the marketing side.
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The usual management style bio that arrived states it is "NWOBHM with a modern twist". Now it is true that there has been a recent upsurge in interest in the aforementioned movement, and I have absolutely no problem with the monicker itself - for bands that were around originally.
And let's be honest, if you are going to sell music on the basis of a trend that existed 35 years ago, I should think a modern twist goes without saying or it would be as useful as an England fan with World Cup Final tickets (pick your sport). The other issue I have with that is the immediate pigeon holing – surely a band should be aiming for a wide audience not alienating potential fans before they even start.
As I said, this has nothing to do with the music, so best I calm down and get on with that side of things.
'Crisis Has No Prejudice' starts off with the sound effect department before the band hit with crunching riff, meaningful and not without menace; the vocal melody behind it IS quite a catchy affair as well. It is straight between the eyes rock, and a lot more of a mix than just the, well you know, that the bio mentioned.
'Poison Women' is a lot more inclined towards the NWOBHM era – see they've got me bloody doing it now. A nifty rocker, again the vocals giving it that injection, taking it out of the mundane. It is a well written song, a few sections in it to keep the interest up, fretwork increasing in revs and creativity as the song goes on, the whole thing getting a little more intricate with vocal and guitar interplay before it reaches its conclusion.
'To No Avail' carries on in the same vein and although a little chaotic and confused at the beginning, it does develop well. Again, departure from the blueprinted riffs of yesteryear leads to them being more themselves musically and when they do that the result is a lot more of an aural pleasure. Rhythm section banging out this one behind guitar and vocals, drums especially adding more than a little zest.
So what is the view? Well, as I have already stated, when they let rip they come up with some interesting tuneage, they can write well-crafted songs and they seem to gel well together. If they can steer clear of the far too limiting NWOBHM thing then the result could be quite interesting. Only time will tell...
Mark Crosby – Vocals
Eddie Neale – Drums
Bill Fitzsimmons – Bass
Dave Parrish – Guitar