Medieval Metal

There should probably be a longitudinal study on the rebound of once thought defunct musical styles, particularly in light of recent reunions of a lot of so-called has-beens, and even a few never-were types. Throughout the late 70s and early 80s there were dozens of bands that exemplified the NWOBHM sound as well as many of the mainstays, but never got past putting out a few singles, demos, or getting onto a compilation somewhere. It also seems that America has its fair share of parallel cases of this, one of them being a very obscure North Carolina act known as Overlorde SR (the “SR” was added upon their reformation in 2009) that may well have been a formidable American counterpart to the likes of Grim Reaper, had the genre not become so saturated so quickly.

For a demo, “Medieval Metal” could definitely pass for a professional grade EP by 1985 standards. The album is all but the literal picture of clarity, allowing each member of the fold to be heard on near equal terms, save the vocals which naturally tend to get a great deal of influence in this style. Steve Sosa’s mid-ranged croon is a bit safe by metal standards, lacking much of the grit and edge normally attributed to similar British equivalents like Saxon and Demon, but it works well here as the songs are meticulously constructed for easy digestion and sing-along value. It wouldn’t be much of a stretch to picture these 3 collections of galloping, bouncy riffs in a large arena venue, though they likely didn’t get too far beyond the smaller club scene.

Funnily enough, when I hear these songs I can’t help but think that a lot of the NWOBHM revivalist acts of late weren’t at least aware of this band on some level. Particularly on the opener “Full Speed Ahead”, a lot of familiar sounds jump right out for anyone who has heard any of White Wizzard’s better known songs. The only place where things aren’t quite as similar is the lack of vocal gymnastics, but that is more than made up for in a fair amount of showy lead guitar interchanges right out of the Adrian Smith vs. Dave Murray formula. “Keeper Of The Flame” gets even more blatant in its Iron Maiden influences by turning out a riff set fairly familiar to the up-beat gallop of “The Trooper”, though the vocals are a lot more restrained and less operatic. The closing number “Enchantress Of The Knight” sort of veers off a little bit into Ozzy Osbourne territory, actually going so far as predicting a lot of what would happen a year late on “The Ultimate Sin” and ups the ante further in the lead guitar department while maintaining a super-catchy skeleton to the song.

It’s understandable that this band didn’t get off the ground given that what they’ve come up with here was mostly established about 2 or 3 years prior and most were playing faster and meaner, or going closer to the glam craze. But all things being equal, this is a downright solid piece of metal history that will definitely please any and all early 80s junkies. Perhaps given the present climate this band will finally get some recognition, but even if it doesn’t go beyond some touring with what was already set to vinyl before 1988, 3 great songs is a lot better than what a lot of so-called mainstream musicians can manage to muster these days.

These guys really came out of nowhere, their disappearance as baffling as the music which eminated from, of all places, North Carolina. I don't know what North Carolina-based Metal sounds like as a collective, however, I do know what this little gem gives off; Total NWOBHM, in effect sounding like Praying Mantis if their songwriting and playing approach was exactly that of Satan.

The layered vocals ("Full Speed Ahead") channel the Praying Mantis similarities, yet the one thing that sets this release apart from the two NWOBHM stalwarts is the lack of twin guitar harmony abuse, though it does pop up in the oldschool rocker "Enchantress of the Night." Most emphasis is put upon heavy, catchy riffwork with tasteful solos.

Pacing slows as the demo rolls on, "Full Speed Ahead" being the speedy killer, with the next two tracks showing midpaced rocking sensibilities, though "Keeper of the Flame" has much more 80's Metal leanings than the aforementioned "Enchantress of the Night." The NWOBHM influence holds strong for most of this, though one may definitely be reminded of Warlord at times.

Originality may not be the order of the day here, but these songs are so well written and memorable that this is more than worth finding. I had first heard these tracks about three years ago, only twice in one day, and hadn't revisted them until now. I found that I remembered each of hese songs note for note, perfectly. I wouldn't hesitate for a second to recommend this to obscure old Metal enthusiasts. Find it and enjoy it!