Hands of Fate

In the US sitcom “That 70s Show”, there is a recurring joke of Red, a grumpy middle-aged man, threatening to put a foot up somebody’s ass in many different ways. I mean, how else are you going to deal with bratty youngsters? And although I’m not even thirty, I completely understood the asskicking state of mind when listening to Savage Messiah’s fifth album. Their previous works showcased their immense talent and a Maiden-esque sense of melody. But something changed as they switched labels, and it sounds like someone made a decision to go through with a stylistic shift. And it seems all could have been prevented with mild physical violence.

Savage Messiah were never the most original band. They have always mixed melodies of classic NWOBHM with the bold guitar-playing of Megadeth and Metallica-styled riffs. But their chops easily overcame that objection. As time went by, they replaced thrash elements with a more melodic style, but still crammed as many ideas and hooks as they could into their songs. Yet, with “Hands of Fate”, they decided to try and write simple, catchy, melodic songs, leaving most of their ferocity behind, essentially trying to record their own “Black Album” (Except the cover is all white. What camouflage.).

Now, for what is worth, the music on “Hands Of Fate” - especially the leadwork - is not terrible. The riffs are terribly safe midpaced chuggers, however, and the melodic lines and vocals try way too hard to be catchy. Take “Wing And A Prayer” - the melodic riff in the chorus is absolutely fine, if only it weren’t pretty much all that song has to offer. This leads you to think that Savge Messiah just don’t care enough to give the music their all - a problem a few well-meant kicks up the derriere could only help to solve.

What has plagued “The Fateful Dark” and is even more audible here is the band’s inability to write a decent chorus. Repetitive and forced, Dave Silver might think that shouting the song title over and over constitutes a catchy song. Basically every melody in the chorus is as simplistic as it gets, with just a few exceptions. This dumbs down even otherwise decent songs (“The Last Confession” - a semi-ballad, though one that features the only genuine thrash section of the album).

The actually inspired moments are few and far between. The title track is likely the catchiest song here, because the chorus is actually quite elaborate and Silver nails it with conviction. That guy actually improved as a vocalist, still sounding like Dave Mustaine, except that he can sing. “Blood Red Road” is also a cool song - that solo is probably my favorite moment of the whole album, you just need to get over the fact that the verse shamelessly rips off the vocal line from Metallica's “Creeping Death”. And finally, there is “Sad But True”... sorry, “Lay Down Your Arms”, which somehow works as a midpaced stomper. Sure, the chorus is dumb, but Silver’s vocals manage to save that. Little bits and pieces are scattered around, such as the opening bassline in “The Crucible”... just prepare for a test of patience.

This album is not a failure, however, it sounds lazy and is equal amounts good and bad. Savage Messiah is a talented band, and that makes this half-assed attempt at a compact and catchy album all the more infuriating. They worked hard to get signed to a big label, and now they stop to try and… well… sell out. Call me a grumpy old man, but this is just not right. “Hands of Fate”? How about my foot of fate, planted firmly up your ass, guys?