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Shining Blade > Touch the Night > Reviews
Shining Blade - Touch the Night

Italian Power Melody - 70%

DeathRiderDoom, April 16th, 2009

Though considered a speed metal band, and don’t get me wrong, theres some moments, a considerable amount of this band’s energy seems to be focused towards hard-hittin’ melodic hard rock tracks, with punchy, rather than ‘gallopy’ riffs, and melodic vocals. Touch the Night is a decent 80’s metal effort with a sick title, and from one of those countries worth exploring further. Though Italy does have especially today, a considerable clout in the Heavy Metal Universe, the majority of material we hear about is from either the US, UK, Canada, with of course Scandinavia playing a considerable part. Italy (along with France) is one of those countries not overly known for its memorable 80’s heavy metal acts, but of course they produce some quality. This could be considered in that classification.

Anyway, Shining Blade’s Touch of the Night starts things off with an excellent title, and produces some decent (though not overly enthralling) heavy metal tracks, with a couple of weaker moments, but nonetheless worthy of possession. Considerable ‘slow’ territory exists, largely associated with tracks seven and eight, and concerns some female-orientated lyric-work.

Vocal work demonstrates that Francesco d'Elia has some talent, and something that I always respect, as a speaker of only a mere one tongue, a talent for crafting lyrics in the ‘Lord’s English’. Subject matter shifts through a fair amount of ‘softer territory’ which is fine in my books, with these lighter numbers being complemented by touches of keyboard. In fact, these ‘lighter’ numbers are often executed with somewhat dark under tones: see ‘Winged Snake’ for example. The track is actually quite complex, with tasteful uses of ‘organ’ keyboard effects which add a dark tinge.

Into more upbeat territory, we have ‘Night Walk’, the title track itself, which exhibits prominent rumbling 70’s sounding (think Rainbow) bass work, with some important ambience in the start. When the vocals come in (coupled with a repeating of ‘dark’ organ keyboard work) one may be drawn to make comparisons to Leatherwolf, especially their more occult-related tracks. ‘Night Walk’ is far from arbitrary, taking time to build up, and with many separate, but important, and well executed parts. I particularly enjoy when tracks take time and build up to where they mention the token title word chorus. Great melodies are created with thundering, scale orientated bass, and touches of almost reggae (think British Steel) riffage.

‘On the Battlefields’ exhibits the vocalists skills well as well as whoever wrote the track. As one could expect, we get into heavy metal subject matter here, topped off with gang vocals that slot nicely in between perfectly pitched melodic screams. Some Guitar harmonics, with some classic use of 5th and 7th fret power chords, and well constructed solos make this one contender for stand-out track of the album. A nice ‘false finish’ adds some excitement toward the end effectively.
Heavier ‘Metal’ moments are exhibit in tracks like 140 Rph, which starts out with scaly guitar leads and squeals that sound like Dio. A chance for the lead guitarist to not so subtly display some finger skills and bring heavier moments to the album by kicking the listeners pants with instrumental showcase.

All in all, this one seems to grow on me every time I hear it. Definitely melodic enough to draw comparisons with Leatherwolf, with some quality work being put into guitar leads and the general construction of melodies throughout pieces. Perhaps ‘softer’ than fellow Italians Berserks, or Creepin’ Death, but with enough power mated to that melody to bring home the bacon. Advisable, yet I wouldn’t advise becoming attached to it, on account of it being the only full-length from the artist.