The Blood of Creation

Iron Kingdom takes me back to my derelict and squalid, homeless Vancouver days, an agonizing time when all I had to keep sane was my trusty mp3 player (along with slavedriver backpack and ZZ Top approved sleeping bag), which were dominated by period when I discovered myriad Canadian acts such as Axxion, Black Moor, Evil Survives, Expain, Roadrash and Sanktuary, with Surrey born and bred quartet tossing its crown into the ring on more than one occasion, namely at advent of early discographic genuflector At The Gates Of Eternity, released in 2013 (the year I swilled beer with Striker whilst rooting for West Of Hell at the annual Armstrong Metal Fest in the Okanagan Valley). Alongside virginal 2011 debut, Curse Of The Voodoo Queen, a 2014 live show in Seattle and trailing pair of 2015's Ride For Glory and 2019's On The Hunt, comes this here latent addition to British Columbians' song vault, titled The Blood Of Creation and hosting ample material worth tipsy spillage.

For a spell, this ferrous citadel, fronted as always by guitarist Chris Osterman - he of the wickedly androgynous yet cool as a drafty reaper's voice - benefits from a considerable line-up change which saw axe woman Megan Merrick jump into the fray (or fire, for Metallica diehards) on above dropped On The Hunt. Still on board are drummer Max Freisen and bassist Leighton Holmes (who shares a mutual "metal" friend by name of D. who's also into the green stuff, whilst sporting a wacky 'do). In essence, Iron K slays in wail and shred departments, as attested by blistery power meets trad metal attacks "Sheathe The Sword" and "Queen Of The Crystal Throne".

These are just the start. Once atmospheric and brief instrumental intro "Tides Of Desolation" curtsies, Liz Truss style, to "Sheathe The Sword", brace for a helluva ride. Beyond mere Maiden or Priest aspiration, this seismic tide rips to Helloween or Gamma Ray levels of full-blown power and guile. Riffs are disciplined and tight, whilst the leads hit all sweet spots. This goes for doubly intermittent harmonies, as they create a fine mist of vestigial remembrance across the board. I also dig parts in latter half when the battery interjects several hat tippling bagatelles at every hauntingly yowled turn.

Nostalgically Youtubal "Timeline" sensations occur once minutely glam, but infinitely "metal" "Queens Of The Crystal Throne" demonstrates skillful youths at top of their Germany touring game. The puck doesn't stop there, as further tracks "Hunter And Prey" and "Witching Hour" mix things up like a nuclear bruja's magic potion, which sees former exhibit a rather rockish solo section, whilst latter non titular subtlety winner reminds me of a universal cross between fellow Canucks Cauldron and Spain's vampirically dormant Witchfyre (at one point, target of jocular wit).

A hyper and feral, back-to-business dreamworld pounder ensues with "In The Grip Of Nightmares", a bit of a tricky treat when you hear Chris' banshee-like ululations alongside downright classical and professional lead zeitgeist on behalf on both harp defilers, not to mention most memorable foot stomping chorus. "Primordial" is yet another quick, squeegied-in instrumental, yet of a tougher nature than opening fluff. Then, it's on with the 13.5 minute finale, "The Blood Of Creation". Even if long winded closers are all the rage, thanks to a never-ending parade of asymptomatic solos, we're off to a great second start. As far as extended epics go, Iron Kingdom succeeds where most flail. No disrespect to Iron Maiden, but "Rime Of The Ancient Mariner", move over! Without further ado, hail this North Pacific blazer of bloody trails.