No Escape

A clear standout on Shrapnel Records‘ early US power/heavy metal line-up before it became primarily a shred label, Hexx were a San Francisco, California based metal band that represented a bridge for the gap between NWOBHM and the burgeoning speed metal scene of the era. More Priest-like and traditionally influenced compared to some of their label-mates Hexx embodied one of the purest examples of US power metal in the early 80’s on their debut album ‘No Escape’. Whereas many of their contemporaries struggled to break their mold throughout the 80’s Hexx are perhaps entirely notable for their ability to incorporate modern influences from album to album going from Tyrant style speed metal to Sadus-esque death/thrash within a matter of 4-5 years. Though their discography isn’t as stylized or original as Manilla Road‘s original run, ‘No Escape’ remains a classic in underground 80’s heavy metal.

Produced by Guitar World legend and Shrapnel Records founder Mike Varney the spacious production of ‘No Escape’ is one of the finer examples of the power of analog production of the era and the distinct ‘live’ kick of the drums with just enough reverb on the drums that they push wildly behind the guitar performances. Much like Liege Lord and Tyrant around this same time the influence of ‘Killing Machine’-era Judas Priest and the ensuing NWOBHM soundalikes was entirely obvious in the overall execution of Hexx‘s speed metal guitar work. But shredding and leads weren’t what Hexx were all about, as vocalist Dennis Manzo truly carries this record with an effortless vocal performance that defines ‘No Escape’ more than any particular riff or shredding moment.

In hindsight the first Hexx album is perhaps more of a standout than it would have seemed back in 1984 and outside of the tawdry Scorpions-esque balladry of “Beware the Darkness” it represents my favorite middle ground between NWOBHM’s influence and the rise of speed metal aggression before ‘thrashing like a maniac’ crushed the old guard. Perhaps Hexx had more of their own distinct sound and personality on their 1986 album ‘Under the Spell’, though I liked Manzo‘s vocal more than his replacement, but I don’t think that is a good reason to overlook the incredibly tasteful pure heavy/speed metal of ‘No Escape’. It really is on par with some of the best of it’s class including early Metal Church, Helstar and to some degree Vicious Rumors. It may survive only in the shadow of Hexx‘s more distinct releases, and as a footnote for pure metal completionists, but for what it’s worth their debut is one of the finer examples of the grandeur of early 80’s US power/speed metal.

Attribution: http://grizzlybutts.com/2018/05/08/retro-tuesdays-hexx-no-escape-1984/

More than 30 years ago, the German radio programme was much more diversified than today. Heavy metal did not play an important role, but some stations featured songs of then new metal albums. This was the way how I got in contact with Hexx for the first time. “Terror” was the promising name of the song that was played on the radio. So far, so good. The track began with an intro that created an almost surreal atmosphere. But as soon as the first riff appeared, "Terror" represented a fantastic piece at the interface of heavy and power metal with vocals that reflected the eighties in an unaltered manner. Neither the necessary pressure nor the indispensable melodies were missing. But due to whatever reason, I did not buy the album. Probably I did not want to spend my money for a comparatively expensive import album. Nonetheless, this matter did not let me rest. As a result, I recently bought the long awaited rerelease of the debut of Hexx. Ice blue vinyl, gatefold, printed lyrics – the carefully arranged design of this edition gives no reason to complain. But does the music as a whole really justify the republication?

Well, the guy of the radio station proved his good taste by selecting “Terror”. The mid-tempo number with its haunting verses and the reproachful chorus belongs definitely to the highlights. Nevertheless, the album may not be reduced on this song. Of course, the very strong opener fulfills its purpose in a flawless manner and points the direction for the further tunes. The relatively melodic yet powerful tracks do not lack of depth or atmosphere. They profit from the dense sound. It is a little bit foggy and does not focus on transparency, but the contribution of every single musician is easily identifiable. To cut a long story short, I enjoy the natural sound of this debut.

Due to the fact that I am talking about genuine US-American power metal, high speed parts did not show up. Additionally, the high-pitched lead vocals chose a melodic approach. Dennis Manzo was really a competent lead vocalist, a singer in its original meaning. In view of this description, hopefully it becomes clear that Hexx did not concentrate on harshness as an end in itself. Nevertheless, the band belonged to the underdogs of the scene of the eighties. Their comparatively versatile melodies had no similarities with the nonsensical rubbish of the hair “metal” jesters. No doubt, Hexx did not lack of integrity. Commercial aspects did not play a dominant role. Equally important was the fact that the band was familiar with the DNA of pure heavy metal. In particular the title track did not lack of heaviness. Its riffing deserved an entry in the heavy metal textbook and its belligerent guitar solo revealed a deep affinity to thrash metal. Inter alia the subsequent “Live For the Night” with its thundering chorus confirmed that the compositional formula of Hexx was too craggy for those people who went to concerts of ordinary hard rock bands. Even the final track, a kind of power ballad, possessed the right amount of metallic forcefulness. The Californian group displayed a level of vehemence that was more or less comparable with that of Trauma´s “Scratch and Scream” or Chastain´s "Mystery of Illusion". Therefore, the answer to the aforementioned question is “yes, the music offers a huge number of viable reasons for the rerelease”.

No matter whether you have a close look at the sound, the vocals or the compositions – this apparently unobtrusive album possesses a lot of charisma. Its charm lies in the rare combination of the band´s pioneer spirit and its originality. A little dose of naivety is also included. Finally, a minimum of mysticism gives this album its very special flavour. I am sure that the taste of this almost magical mixture will captivate you. Admittedly, the additional track of the latest edition as well as one or two songs of the original format does not hit the mark exactly. But these tracks are also solidly configured. They do not hurt the flow of the homogeneous and honest full-length. Anyway, “No Escape” is no timeless work. But it documents the US-American power metal spirit of the early eighties sustainably. This alone is a good reason to lend an ear to this work. (And one final remark concerns the cover. I tried to find the right words, but I have nothing to add to the brilliant description of "autothrall". I´ll take two copies, too.)

I'm a sucker for albums bearing strange and colorful, fantasy cover art from the 80s and Hexx's 1984 debut No Escape is no exception, an ugly palette of stone plateau pathways and a sculpted stone mountainside face clutching a moon as a crystal ball? Sign me up, I'll take two copies. In all seriousness, this California act were a magical, morphing entity who transitioned through several styles as they would attempt to maintain their career against the phasing face of the metal realm, first a classic melodic metal band, then assuming a more powerful stance, and then going outright thrash metal, to end up in a sphere of thrash/death akin to a Sadus or Dark Angel.

Even if I hadn't mentioned any of that, you would be able to guess precisely what No Escape was going to sound like due to the cover art and the fact it was released through Shrapnel Records, who in addition to being an early metallic shred capital, was responsible for a number of worthwhile hard rock, heavy/power metal and thrash efforts in the mid to late 80s. Bands like Vicious Rumors, Hawaii, Cacophony and Apocrypha are a few examples, but the label also supported Hexx for their first two albums, which remain their career best. This debut was not quite so memorable or powerful as the following Under the Spell, a truly excellent and unsung American classic, but there are plenty of kicks delivered here for the connoisseur of high pitched vocals, borderline hard rock riffs and wailing leads.

This is the sole album with original frontman Dennis Manzo, and he's got a voice very similar to that of Lizzy Borden: shrill and haunting, yet delivered with immeasurable grace and power. In particular, if you're fond of the early works Give 'Em the Axe, Love You to Pieces and Menace to Society, you're going to go ballistic over Manzo's performance here, because its as sharp and piercing as a crystal sword cutting you straight down the middle. In the end, I prefer his successor Dan Bryant's huskier tones on the following Under the Spell, but certainly Dennis gives it his all and is part of the equation that allows this debut to stand the test of time, even when surpassed by its next youngest sibling. Original guitarist Dan Watson and bassist Bill Peterson, present for the the band's entire studio career, are rock solid: Watson laying out big chords and melodic fills spring coiled with finesse, Peterson loud and proud even though he does hang back a little to suit the guitar rhythms. Original drummer Dave Schmidt is an adequate hard rock style drummer with some power to his hits.

The title track "No Escape" is probably the most memorable of this album's tracks, with Manzo's hooky wailing and some pretty busy guitar lines that weave in and out of a mid paced romp and then a climactic chorus riff which completely stands out here. I also love the creepy riff used in the intro and closing, and the solo is pure speed/shred terror ala Exciter. Other tight tracks here include the shuffling NWOBHM boogie of "Live for the Night", where Manzo sounds most similar to Borden thanks to his incessant shrieking; "Look to the Sky", which sounds like some hybrid of early Running Wild and Omen; and of course "Terror", a moody and frightful song which uses eerie guitars to build a steady atmosphere before some bleeding, savage melodic speed metal ensues. If you're just yearning to burn, then "The Other Side" and "Invader" should suit you just fine. There's also a molten power ballad gone rocker called "Fear No Evil" which is quite boss.

Granted, most of these tracks are not so catch as they could be, but the fact that this is an album from the early year of 1984 which is not so many miles behind a Powerslave or Ride the Lightning in sheer metallic entertainment value is a testament to the worthy job these four extracted from their first major studio journey together. This is not the first Hexx album I'd reach towards when requiring a fix, and there's nothing as brilliantly delivered as a "Hell Riders", but in all this should not be missed by fans of the 80s Shrapnel or Metal Blade rosters, in particular Lizzy Borden, Omen, Liege Lord, Riot and so forth.

-autothrall
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