Go for the Throat

Being better known for sharing the name with a giant of another genre than for one’s music is never a good sign. Still this San Antonio band has managed to get a cult status, and has always had a certain respect among the Texas metal followers. I really don’t know why. Instead I find that this album symbolizes everything that was wrong about US speed and power metal.

It doesn’t lack speed, but heaviness. An Exciter intro is heavier. The vocalist is high-pitched, and thus shrieky, as he never tries the lower spectra. Somewhat like King Diamond forgetting that there are other ways to sing than falsetto. He’s extra pathetic in the balladesque start of The Witch Must Burn, a failed attempt at epic songwriting. Bass is bass, and Van Stavern doesn’t go down history for his usage of it here.

The drums are fairly competent and fast, but McClain did better in Sacred Reich. The only element of impression is Ron Jarzombek, partly saving the album with his solid guitarwork. It’s nowhere as good as his WatchTower stuff though.

The production is somewhat blurred, but still allows the tones to appear. Too bad the tones repeat themselves, making the songs rather similar. There are a few odd ones though, as the instrumental TLO 22, guitaring all over the place and Hell Will Be Thy Name with more speed crammed into it than any other song on the album. On this standout the vocals fit in with the tempo, granting forgiveness for the overly stupid lyrics. Until there comes a slow part, bringing back the memory how the vocalist really sounds all over the album.

You survive this dish, but it leaves you with a sour taste in the mouth. Don’t worry though; it’s easy to wash away with some music that has more qualities than its name. Doesn’t deserve being remembered, doesn’t deserve being listened to.