Maule

The Canadian heavy metal outfit Maule was brought to my attention in the midst of seeking out the massive bout of traditional metal albums that hit the scene this year. Having only a demo to their name, this self-titled debut album brings their simple foundation into bright fruition. It’s another one that makes its NWOBHM influence quite obvious from the start.

Colorful leads and the obvious Iron Maiden flavors are revealed immediately. Musically, this lets on energetic and tasty flavors meant to invoke rising serotonin levels, tacking on the staple twin guitar attacks everywhere. What stands out is the raspiness of the vocals, something that usually isn’t paired with riffing as clean as this; if anything, it’s usually the opposite. I’ll admit that this combo took a hot minute to grow on me, but once it did, I was set.

If that isn’t enough, the basslines play a crucial role in Maule. “Summoner” especially lets this in with sharp ferocity, carefully placing the guitars atop with their already established noodly presence. Themes around the occult without feeling like a satanic panic gives this a lot of charm, which matches the semi-uplifting feeling. Moreover, catchy choruses that land a tough impression make their way onto almost every track, including the ones that lean a bit more towards the intricate guitar focus.

Part of why the vocal contrast with the instrumentation took so long to grow on me is because of how odd the combo of hope and anger feels. This has certainly been done before, but very seldom do I see it pulled off so smoothly. “Father Time” really tackles the threatening punches through slow ascent into several angles of discomforting delivery, yet it always resolves itself. The swift “Red Sonja” on the other hand takes the aggression and speed to the point that it borders a thrash metal tune. The title track has an incredible slow-gallop that taps into victorious march vibes, and all of these approaches connect to each other very well.

Despite Maule’s clear visibility with their influence, I think they’ve managed to cook something somewhat unique up. It took me several listens to really grasp it, and there is probably a little bit of room for growth. But ultimately, the Canadian group has strong appeal and a decent idea of how to piece together intricate ideas without overdoing it. Easily worth seeking out for fans of Phantom, Black Sites, Konquest, and of course, Iron Maiden.

Originally written for ToothAndNailed95.blogspot.com

Bursting fully onto the scene with this debut self-titled effort after a 2019 demo showcasing 5 of the same songs, Maule seem prepared to take the NWOTM by storm. Not content only to rehash the same old jaunts perpetuated by Iron Maiden and Angel Witch since the ‘80s, the 4 Canadians apply more aggression and speed to an already boisterous formula, leaving Maule to appeal rather more to German and Swedish neo-trad trends than their homeland’s prior exponents. Rather an Enforcer or Vulture savagery about this album than feel-good Striker vibes or explorative Traveler structures. Indeed, the 9 songs hit hard and straight, averaging around 4 minutes and mainly selecting riffs and melodies to power each track.

Jakob Weel’s primal metal yell adds a raw appeal to the vocal hooks of ‘Ritual’ and the band-titled number, even if the same element makes it rather tough to finesse the statelier riffing of ‘We Ride’ at the album’s conclusion. Nevertheless, the quartet arrange things right, ripping through cheerfully indignant speedsters like ‘Evil Eye’ and ‘Red Sonja’ earlier in the running time, then trying a few different tricks on the epic ‘Father Time’ and steadying the pace from that point on in favour of greater scope. Occasionally the influences show through more obviously, as in the manner of early White Wizzard, though by and large Maule’s strong debut brushes aside questions of originality and answers them with upstanding quality. Arguably, these guys have some room to expand their sound, while Maule sees them at their most impulsive and immediate.


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

Canadian heavy metal quartet Maule brings the eighties back to life on its titular full length debut. What we get to hear are nine traditional heavy metal anthems clocking in at thirty-eight minutes. The production is simple and modest but also powerful and organic.

Influences such as Iron Maiden, Motörhead and Saxon in their early years keep shining through in the songwriting department. The musicianship is based upon upper mid-tempo guitar riffs, melodic guitar solos and galloping rhythm section with dynamic bass guitar sounds and playful drum and percussive patterns. The lead vocals are raw, juvenile and hoarse and add some more uncompromising energy to the mixture.

This release comes along with a colourful, detailed and imaginative cover artwork that works much better as a vinyl release than anything else. The trip down memory lane is completed with tongue-in-cheek nicknames for the band members such as Riddle of Steel, King of Bones, Doomin' and Danzo.

Is this approach original? No, it certainly isn't. Is this album great fun to listen to? Yes, it certainly is. This output includes infectious songs recalling the greatest groups of the New Wave of Heavy Metal such as White Wizzard, Visigoth and Traveler.

Title track and band anthem ''Maule'' for instance meanders splendidly between atmospheric and slow parts on one side and catchy and fast sections on the other side. ''Red Sonja'' on the other side quickens up the aggressivity and pace instrumentally and vocally as it gets to the point in less than three highly efficient minutes. Gloomy, menacing and slow ''Father Time'' sits on the thin line between doom and heavy metal and would deserve a spot on the soundtrack for any horror movie inspired by the works of Clive Barker, John Carpenter and Wes Craven.

Maule's titular debut record should please any fan of traditional heavy metal. This album certainly doesn't reinvent the genre but is great fun to listen to. The song material might even work better in concert, so here's hope to get a solid dose of Canadian heavy metal on stage once the ongoing pandemic will have finally slowed down for good.

Maule's titular full-length inferno, released this month under Italy's good old Gates Of Hell Records, boldly caught my attention, but I doubt it'll be relinquished anytime soon! Tailing hoof-marks of Vancouver vets 3 Inches Of Blood and West Of Hell, this proven quartet consists of seasoned heavy metal pilgrims fronted by rhythm guitarist/vocalist Jakob "Riddle of Steel" Weel. Handling bass and drums are "King Of" Bones and 88 Mile Trip's Eddie "Doomin'" Riumin, whilst Danny "Danzo" Gottardo chalks up wickedly spawned hell-blazing leads over roughly forty minute long springwell of haphazardly fast and melodic tunes.

Upon excitable sampling, it didn't take long to place both familiarly shredding riffs and solos in same league as solvent British Columbian legend (namely, 2004's Advance & Vanquish and 2007's Fire Up The Blades), before making additional association with warped guild member of traditional Irish mettle, Belfast's Rabid Bitch Of The North. Thus put, the cranky thrust and mad shuffle of opener "Evil Eye"...coldly see cemetery crew unto increasingly galvanized slashers with names like "Ritual" (a nod to Night Demon) and next hex conjurer "Summoner", among talonfull of razor sharp material.

As for steadily shouted vocals, Maule's "Steel Riddler" dishes 'em out a mile a minute, reliant on nothing more than default high volume and intensity levels crookedly aligned not quite with 3IOB's Cam Pipes but instead, Fatal Curse's Mike Bowen (front man for fond Empire State trio from whom sophomore is sought!).

Among highlights subsists eponymous "Maule", which google defines as "a deciduous thorny shrub native to Japan having red blossoms". At any rate, this mysterious namesake brings to mind fellow Canadians Sanktuary. Semi-thrashing blitzkrieg "Red Sonja" spreads and unfurls her crimson wings towards "Sword Woman" - in spirit and theme, as close a sister song to Corsair's classic "Warrior Woman" as it gets.

Nearing last stop of Maule's tombstone express, longish outlier "Father Time" clocks us with drastic tempo fluctuations which instill progressive-yet-oppressive, doomed sensation best described as ever so dangerous meeting between crisply rocking Judas Priest at the height of its powers and more sinister song craft in pulsing vein of early Mercyful Fate. (Present masterful torch bearers Galaxy and The Night Eternal represent textbook specimens of such cryptic fusion.) However, to their mild detriment, lighter and less riveting stoner rock vibes prevail on closing pair, "March Of The Dead" and "We Ride".

Cursorily revised online reactions yield myriad endemic pundits beefing about our pal's gruffly frayed delivery, as well as alleged lack of aesthetic. To these, I exclaim: So what?! Fellow sagacious minstrels who dig no frills, killer riffs astride skilful, arse kicking solos, Maule is tailored for YOU!