The Plague Court

Quite a left turn comes with Gauntlet Rule, the heavy metal project of renowned death metallers Rogga Johansson (Paganizer, Revolting) and Teddy Möller (Loch Vostok). They hook up with another Swede in Peter Svensson (Assassin’s Blade) to produce a muscular romp through some fairly gruff classic stuff, though without venturing anywhere near their usual extremity. Möller’s sonorous pipes and occasionally odd tuning remind partly of Grave Digger’s Chris Boltendahl, while a guest vocal spot for Blaze Bayley points to other, more traditional, influences. That makes most of the songs a good fit for partly nostalgic heavy metal and partly modernized material, what with the bulky strings and punchy production belying a tendency to melodic detailing and some delicate moments on 'A Choir of Angels', where Lorraine Gill (Taist Of Iron) and Indii Hofvander guest with a female vocal duet.

Although getting through 10 songs in under 50 minutes, The Plague Court also achieves an epic USPM feel through its sword and steel bluster, especially on the extended closer, which slackens the pace a little for heroic backing vocals and journeying vibes. The album as a whole rarely produces particularly catchy attempts at the formula, though the shorter cuts like 'The Caneham House' and 'Run the Gauntlet' that commence The Plague Court approach most closely to hooky material. Given how Johansson currently has so many projects on the go, it can't be clear whether Gauntlet Rule will ever see a second album, but on this basis there will surely be fans waiting.


Originally written for Metalegion #11 - www.metalegion.com

Gauntlet Rule, which hails from Höör, in Sweden's Skåne region, is a band I love and hate, for foolish reason only: no matter how many times I spin its ten tracked debut full-length The Plague Court, struggle mightily in pinpointing the vastly experienced trio's general sound. For starters, front man Teddy Möller sounds like an elegant and gravely version of Fear Of The Dark era Bruce, whilst the rhythmic riffs and high-velocity, at times blast beat with egg beater speed drum beats elevate the dense, none-too-frugal material to a comparatively mild, just-below death metal level of execution and synchronicity. Lyrically and luckily, Cannibal Corpse style grossness is off the menu, its noble Medieval themes not far off from Iron Maiden-esque literacy.

The tightly confident, 3 Inches Of Blood-meets-Testament evoking chops of Bassist Peter Svensson and lone axe man(iac) Rogga Johansson eschew any kind of ill-fated levity, instead going straight for the throat and throne with opener "The Caneham House" - which serves as atmospheric template for album's rich, close-to-fifty minute duration. Rogga's guitar tone sound very modern and crisp, like on 3IOB's 2004 encroacher Advance & Vanquish, with the battery assuring all manner of varied fills which mechanically jive in a distinct clinical matter - hence, my sole issue. Otherwise, though, some of the songs stick out like a chest thrust bayonet: "Run The Gauntlet", while still epic and eponymously woven (like a wyvern), belies a rockier, less intricate edge, yet sits in properly following said opener's regality. The rare string hopping leads on both first tracks simply presage further electrically shook humdingers in one of three reprised singles, "Dying For My Dreams", another Maiden amplification worth such dreams in darkness.

A big highlight lies in "Plague Court"'s thunderous chorus, as the guitar embarks on a rock n' roll-ish (think 3IOB's "Rock In Hell"), sliding groove until culminating back unto its rakish primary form. As well, Gauntlet Rule reminds me a lot of Trenton, New Jersey's Midnight Hellion, whose recent Kingdom Immortal sophomore breaches similarly rapid, but every bit as thorough and melodic, veils of metal magic.

It's guaranteed fans of all genres will meet their match upon glove slap!