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Cricchio426, August 3rd, 2009

"Frontal Assault" is "arrogant" already from the cover, in line with the classic iconography of the British combo.

It starts with the great title track, which does not disappoint the expectations and shows a band very united and aggressive. The riffing is dark and dramatic and vocals will fall well in the gloomy atmosphere. The song flows nicely, even on well-set arrangements and the solo work is well in line with the melody of the song. Turning a "Dream World" we notice that the combo focuses on issues of melodic melodic thickness more sophisticated, emphasizing a harmony riffing which goes brilliantly with warm, enveloping vocals (especially in the refrain of easily impact).

And here you will notice more stylistic turn of the group compared to the previous production: less dark riffs and more space for harmony. "Rendezvous with the blade, on the contrary, riffing stands out a more vigorous, robust supported by an effective drumming. The sound of the piece reflects the abundance of clich├ęs debut album, especially of the interplay of dark tones and appealing rhythmic ride. With "Religion: Born Again" the band slows down the rhythm, concentrating their efforts on a kind of mid tempo where the sound always tough and strong impact helps to give more "color" a melodic line is always hovering between theatricality and darkness.

A small introduction to keyboards, soft, almost dreamy, introduces us to the following "Straight from hell", which now kicks off with a well-riffing among the most "sensible" and other more rocky impact. The refrain burst then in his power, pointing to a particularly sharp vocals in acute (and here we must give credit to a singer with good vocal charisma). "She Don't Lie" puts on display, again, the melodic mood of the band, emphasizing a certain propensity for a combo of heavy rock tones almost pompous, deployed along a pleasantly riffing that becomes brilliant in the melancholy refrain. The next song, "Take to the wind" is another episode energetic riffs played over and direct impact, while the rhythm section, pressing, acts as a drag factor of the rest of the instruments.

Interesting does the solo approach, which gives further strength to the basic structure of the track. The disc is coming to an end and the penultimate song, "Something Wrong", the combo leaves kicks his vein through a melodic riffing suffered, decadent romantic and, finally, majestic and rhythmic. Perhaps it is in this episode you will notice the most decisive turning point of the combo style that is so typical harmonic foundation of the group to inject new impetus to creativity. That was a good or bad it is not know with certainty. Personally, I can glimpse a maturity of approach evident that, though sacrificing (unfortunately) some key features of the sound of Angel Witch, it stands out of other valuable. The final track, however, go back to hammering the ears with a decidedly heavy riffing, as the dark Angel Witch can offer, supported by a precise and effective drumming. In this case report is the only one who succeeds in sound to compact the base of the piece.

To conclude this "Frontal Assault", although not a hard shift, those that shine like jewels in the heavy metal firmament, is a hard honest, genuine and demonstration of the great talents of a group, Angel Witch, who has shaped a particular kind of Heavy Metal. Let us remember, then, even after this beautiful and unforgettable "Angel Witch".