Battle at Helm's Deep

Attacker is a US power metal band from New Jersey, whose song '(Call On) The Attacker' appeared on Metal Blade Records' Metal Massacre V compilation in 1984; a year later they released their debut album on that label. With a title like Battle at Helm's Deep, and a cover that (however hilariously bad) transports you into a distant fantasy world, you know what you're getting yourself into: a bona fide cult classic.

Thankfully, the music itself exceeds the quality of the cover, and the fantasy theme isn't just a gimmick. On every song except 'Kick Your Face', the lyrics are fantasy related with plenty of nods to Tolkien. It's clear that the riffs and melodies were composed with this particular theme in mind, which definitely shows in 'The Wrath of Nevermore', as well as opening track 'The Hermit', which has a cheesy "symphonic" intro that sounds like an extremely early precursor to dungeon synth. As for the highlights on this record, 'Slayer's Blade' is a short but sweet track that boasts some excellent riffs throughout. The closing section of the title track has a great riff as well. However, the best track on the album overall is the closer, '(Call On) The Attacker', which has just the right mix of progressiveness, speed and catchy riffs.

What makes this album so unique however is vocalist Bob Mitchell's comically high-pitched falsettos. They're certainly an acquired taste on the one hand but they give the album an undeniable charm on the other hand. Overall, his vocals are brilliant at enhancing the otherworldly feel conveyed by the lyrics and melodies. Moreover, aside from the "orchestrations" that sound like lost Runescape sound bites, the production is above average as befitting a Metal Blade release. The guitars have a raw edge to them allowing the listener to focus more on the riffs, a factor that distinguishes most US power metal from its European counterpart. Finally, the bass mostly takes a back seat except during the middle of 'Kick Your Face', where there's an extended bass solo alongside a twin guitar solo.

On the whole, Battle at Helm's Deep may not have been the best early example of USPM, as there were already more memorable examples of "sword and sorcery meets metal" such as Omen's Battle Cry. However, it is one of the most interesting examples for being so unapologetically over the top, almost to the point of parodying the genre's conventions. Granted, Attacker didn't make an entire lore spanning multiple albums like Rhapsody or Gloryhammer; instead, they followed up with The Second Coming in 1988 which abandoned the fantasy theme and Bob Mitchell, then split up shortly afterwards, not to return until the 2000s.

"Tip of the Metal Blade" is a review series delving into some of the most obscure bands on Metal Blade Records' roster during the 1980s.

Having known Mike Sabbatini for at least six years (Arctic Flame rehearsed in the next room over from Attacker before our rehearsal space was bought, knocked down, and turned into a TD bank) It's surprising for myself that I've only recently gave , much of their material the time it deserves, especially since Attacker have played a large part in New Jersey metal for a long time. In the case of Battle At Helms Deep, however, this is an album I've been listening to for a long time, since way before expecting to ever actually be on a first name basis with Mike. I'm not surprised, however, that it doesn't get a lot of attention since by 1985, most of the focus had shifted in the States away from thrash, a sentiment echoed by bassist Lou Ciarlo (ex-Hades) in the liner notes of this particular version of the release. Metal Blade apparently had few resources to get the band on tours with other appropriate acts and when a chance came to get on a billing with Fates Warning after their debut, lineup changes with guitarist Victor Arduini forced that opportunity to turn south.

So Battle at Helms Deep, a release which contains some classic US Heavy Metal tracks such as "Slayer's Blade" (which I sampled for my radio show promo back when I was on air) and the excellent "Disciple" make this an album which, while perhaps not essential listening for everyone, is an obvious recommendation for anyone exploring that mid 80's era of US power metal. Also worth pointing out is that with the renewed lineup of Attacker, it's definitely worth checking out the back catalog of the band since they may be popping into a local dive near you at any time and, as I've seen the band at least three times so far in the past couple months, their live show is worth seeing especially considering some of their upcoming shows in the area are with Liege Lord and Hellwitch.

I'm listening to the 1999 version of this album released by Sentinel Steel, a New Jersey based label that while never doing much local promotion, has maintained importance internationally as an important distributor. It's a great release and includes tons of additional info on the album including some great pictures in the booklet and it also includes what I expect to be the intended original cover along which is not nearly as awesome as the infamous portrayal of an incredibly frightened Sylvester Stallone versus the three legged roach dragon while Dick Clark looks on from the parapets. Also, Attacker at one point were also called, for at least one show, Allacker. What I found also really fascinating is that just like Dave Reynolds of Metal Forces also thought that the demo tracks of the three classic tracks off Helms Deep were better than the album versions due to having a bit more grit.

I don't think it is apparent on a track like "(Call On) The Attacker," but it's definitely noticeable on "Slayer's Blade" and "Disciple" particularly in the kick drum sound which is much more powerful on the demo. It's not that the sound on the album is weak though. While the kick drum lacks a bit of the punchiness the rest of the production is really great and it flatters the best attributes of Attacker's writing sensibilities - namely the twin guitar parts and Bob Mitchell's nasally, wailing and passionate vocal performance. Today, we would never be so blessed with such an original sounding guitar tone. There is definitely emphasis on the mids and treble and little low-end on the guitar tracks. Second track "Wrath of Nevermore" shows how well the mix gels with acoustic guitars clearly audible and the bass pronounced and a major rhythmic focus.

The album is not without it's faults however. As pointed out by Reynolds in his Metal Forces review, arrangements on newer tracks could have been refined to sound more decisive and less dialed in. For example, "Nevermore" has a particularly long intro theme that repeats severely with no variation, "Downfall" suffers similarly and, though a bonus track, "Trapped" is excessive, even though it is bookmarked by an awesome intro and killer solos and leads. A lot of the songs do have a loquacious nature. The best tracks are more punctual and succinct. "Kick In Your Face," is also a problem for me. It's the only track on the album which thematically has nothing in common with the other tracks. While the album in most respects is perfectly happy to fight dragons, battle warlocks and slay monsters, Kick Your Face is a cliche Heavy Metal anthem with sub par lyrics. I don't feel particularly manly touting that "beer drinkers, hell raisers and headbangers wanna cheer."

The anthem, now dead to most metal fans, however at that point was a necessary addition to an album so I can't take too much stock in it's inclusion. I would have much rather have seen a trimmed down and perfected "Trapped" as an inclusion on the original track listing. Though it's a track I am always in favor of skipping, "Kick In Your Face" goes over well live as do almost all the tracks on this album which Attacker oftentimes pull from their bag of tricks. Battle at Helms Deep is classic US Heavy Metal for a reason. A majority of the tracks here are memorable, killer songs with great guitar leads, great riffs and vocals which send us back to when metal was just as often about being unique as it was about being heavy and aggressive.

Originally written for Contaminated Tones

Aside from the fact that the image depicted on the album cover looks nothing like a battle at the famed Helm's Deep, Attacker did everything right with this record. "Battle at Helm's Deep" is considered a classic of the genre for the simple reason that it kicks copious amounts of asses in the way that cheesy, over the top US power metal is supposed to. These guys weren't worried about being taken seriously like all of those other wankers who name their band "Lord of the Nazgul" or any other Tolkien creation, they just wrote some catchy music that has stood the test of time, 27 years to be exact. Along with bands like Omen, Griffin, Jag Panzer and the like, the United States power metal scene was one to be recognized as a premier one.

A lot of the riffage on this record would be considered bland and generic by today's standards, but I shit on today's standards which is why the music on "Battle at Helm's Deep" is that damn good. The opening riffs on "Downfall" are complete and unashamed Judas Priest worship while the riffs on the title track could have been transplanted from "Killers." "The Hermit" and "(Call On) The Attacker" both feature relatively thrashy riffs that aren't too special, but with Bob Mitchell's eccentric vocals and the unbridled energy that is present, there is still plenty of substance, making these tracks that much more memorable. I'd also be a terrible liar if I said that I didn't headbang myself into near brain damage while listening to "Kick Your Face," which features riffs that convey the title perfectly.

Like a lot of US power metal bands, the vocals here are high-pitched and at times quirky. Mitchell's Halford-like screams aren't as pleasant as the legendary frontman, but they do the trick thanks to a little bit of that energy and fervor that people like Balloff and Blitz had. Another highlight on this album is definitely the soloing. Every solo is fantastic with it's miraculous blend of shredding and melody and they could easily get the listener to whip out their air guitar and solo manically on their imaginary axes. Attacker's real strength is the way in that they play their music with such conviction and menacing precision that they're easily revered by fans, despite their music not possessing the memorability of their counterparts in Omen, or the epic feel of Sanctuary. Still, this is a band that should not be passed up and "Battle at Helm's Deep" is an incredibly fun listen that will have you coming back time and time again.

Highlights
"Batlle At Helm's Deep"
"Kick Your Face"
"Dance of the Crazies"

Originally written for Nightmare Reality Webzine.
nightmarerealitywebzing.blogspot.com

The first time I heard this album, I was pretty blown away. It was pretty dynamic, especially when I looked at other stuff out at this time. This really holds its ground in a world of their own, and its just really something else. Its a little faster and more technical to just be called Heavy Metal. Topped off with galloping beats and rhythm's, catchy hooks, and some epic moments this could truly be called Power Metal, and quite possibly the earliest form of it in the States sided next to Omen.

"The Hermit" starts off this piece with some goofy keyboards, but then again take into consideration the time when this album came out, its not bad and pretty different from everything else out there back then. And when you get to the music, you know they're not joking around here a bit. All of the music is really engaging and catchy. Its all upbeat, just like normal Power Metal, and the pace is fast and epic. The solo's are definitely blazing fast, along with the drumming and everything else on here. Its all pretty over the top.

Vocalist Bob Mitchell is definitely one of the weaker aspects of this release, as the previous reviewer states also. In my opinion he's not necessarily bad, his voice is fine and all, but his actual singing doesn't seem too polished at times. It sometimes just comes off as a string of whining lyrics and I just can't tell what he's supposed to be saying. His range isn't bad at all though, and his voice does high notes pretty well and sets up for some great choruses. But I think he could do better, or the band could have with a different vocalist. Either way, the music itself is still good enough that this really doesn't detract from my rating in anyway. The vocals are still enjoyable, and flows well with the music.

They never really stray from their formula here at all. Each song is a treat, some I enjoy more than others, but there's really nothing on here that I'd call a bad song. The downfall to this album is the length, falling a few minutes short of 40 minutes. I've heard shorter, but this album is so fun it would've been great if it had a few more tracks to improve its length. Well, at least its longer than their next album, the "Second Coming" which doesn't even hit half an hour. Another shame on that.

All in all, this is a short adventures US Power Metal trip that traditional metal fans should definitely check out. Its really unique and original for its time. Their next album goes on to be even slightly better with the graceful vocalist John Leone (RIP). Sadly, the band seemed to fall apart after that and didn't release another album for another 16 years, and from the little I've heard the magic from this and "The Second Coming" didn't really carry on.

“…in the wind children cry, all their loves had to die…”

Like many bands, Jersey’s Attacker would have its first day in the sun on one of the Metal Massacre compilations, the groundbreaking fifth in this case, sharing wax with Hellhammer, Voivod, Omen, Overkill, Metal Church and Fates Warning. That’s quality company they’re keeping, but with that company it was near certain they’d be earmarked for second shelf status. Of the remaining bands on that early gathering, they’d be the better of the second raters. Not that “(Call on) The Attacker” is a bad song; in fact, if it were featured on maybe the second or even fourth volume it could’ve been a contender.

To call this thrash is like calling Halloween pt. 3 groundbreaking, and speed is pretty much out of the question, and while it may sound like my opinion of this isn’t all that high, it’s quite easy for me to declare this an above average album. One of the problems facing the five-piece is the occasionally annoying vocals of Bob Mitchell, sounding somewhat like Udo meets Biff Byford meets post-'80s Bobby Ellsworth, except all three have head colds and many times detracts from the songs’ overall potency. It’s like the sweet looking girl (or guy, whatever) with a new cold sore. The music is damn good power metal, traditional as the day is long with structures and rhythms rendered dynamic and even epic at times, yet stay away from some of the NWOBHM sound that invaded the earlier part of the decade.

“The Hermit” is one of those tracks, beginning with a short intro of simple piano and gasping keyboards in a later mid-'90s Savatage vein before jumping into structures sparked with striking rhythms that don’t go unnoticed, and even the vocals add to the drama. The chorus is nigh unforgettable. “The Wrath of Nevermore” ends one of its strong rhythms with an endearing, offbeat flourish in a way too many bands have forgotten, meanwhile the remaining riffs shift from hard-nosed power to near-delicate ensembles. “Disciple” is great in its simplicity, possessing more driving riffs, a long substantial solo, and a chorus touched simultaneously by courageousness and tragedy. “Slayer’s Blade” is the first to initiate speedier notions in both the percussion and solos, but with this liveliness comes Mitchell’s inability to compensate, at times shrilling awkwardly, thereby keeping the track from reaching its true potential.

The title cut opens side two, chock full of rhythms ranging from downright conventional to a slight semi-thrash to the intriguing trouncing riff the lyrics are daringly laid to. Guitarists Pat Marinelli and Jim Mooney open soloing flood banks during the core of “Kick Your Face”, Maiden-ish in its dual approach as well as controlled style and the vocals craw to the final note. Ending the lp is perhaps the most distinguished in “(Call On) The Attacker”, carrier of an absorbing, unorthodox riff, extensive belt sander wails that work for some fans, weaken for others, and is the first song I would choose for a compilation (but Slagel beat me to it).

Without hesitation, I will say anything cheese-oriented directed at these ten songs would be because of the vocals. In his defense, Bob Mitchell does hit some clean notes on occasion, and if he could rectify the dilemma himself, then by all means, but it would be cool to hear Lizzy Borden, James Rivera of Helstar, or even Steve Gaines of Abattoir get hold of the lyric sheet for a recording session or two. Otherwise, there’s musically nothing wrong with this offering.

Edit: Now that I think about it, I'd go with "The Hermit" for the song picked for a compilation.