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Unknown type - 46%

Felix 1666, March 12th, 2018
Written based on this version: 1987, 12" vinyl, New Renaissance Records

I haven't listened to this album for decades, but now I thought it is time to put it on the turntable again. I knew that it is definitely not among the brightest shining gems of my collection and already the artwork indicates a certain stupidity. Nevertheless, the album was released in the eighties and therefore it is a good opportunity to travel through time.

Okay, the album bleeds from many wounds. Just take, for example, the production. New Renaissance Records has never been a supplier of powerful sounds, but this album does not even reach an average label. Thin and pretty flat guitars, a mostly inaudible bass and a pretty dry snare drum build the background for the sometimes terribly performing vocals that dominate the sound. Lead singer Paul Gleneicki shatters my nerves with some very high-pitched screams. His yells at the beginning of "On the Attack" may cause personal injury. And if this were not enough, he confuses charisma with rockstar-like whining. His attempts to give the songs a melodic touch are totally useless and doomed to failure from the outset. "The Betrayal" provides a short relief - it's an instrumental. Too bad that its pretty average guitar lines do not take advantage of this situation.

From my point of view, the combo offers an unknown type of metal. The material is too lame to be called speed metal, too powerless to be called power metal and too lenient to be called thrash. No doubt, the line-up did not consist of posers (with the exception of Gleneicki) and the best tracks, namely "Hit from the Rear" and "A Night on the Horizon" score with solid guitar lines. The opener relies on a comparatively strict and fast-paced formula. Its swift and rasping guitars at the beginning are a promise which the album can't keep. The other track adds a gloomy and atmospheric note. Don't worry, you can live a good life without having heard these tracks, but they are better than the rest and develop a certain personality. "Nightprowler" is also acceptable and builds a bridge to some Indestroy tracks like "Dead Girls Don't Say No". One has only to get used to the very special screams during the chorus (and indeed, "special" can be understood as a euphemism in this context). But horrible pieces like "Streets of Indecision" or "Switchblade Man" are located at the interface of hard rock and metal while showcasing their own insignificance. They sound like ill-defined leftovers from the seventies and could be bad tracks of early Riot.

Two indicators reveal the gargantuan song-writing skills of the dudes. The debut has a playtime of less than 33 minutes and, even worse, only two pieces can convince. It is probably a lame pun, but this "career" really begun with a nightmare. Some guitar lines remain faceless, the solos do not add any value and therefore it is only logical that this output fell by the wayside. Guess it will take decades until I listen to this vinyl again.