No matter how old you are, no matter what comprises your metal record collection, chances are you’re familiar with the term New Wave of British Heavy Metal. By the way, I don’t care if it’s proper or not, but I hate when people pronounce the NWOBHM acronym. Ne-wob-em. Punch me in the face.
There are so many noteworthy bands form that movement that originated in the ’70s, rose to greater heights in the ’80s, and influenced a ton of bands going forward from Metallica all the way to Christian Mistress. Some of the heavy hitters from that era include Iron Maiden, Def Leppard, Judas Priest, Saxon, Diamond Head, Raven, Tygers of Pan Tang, and Sweet Savage. Now, not all of these bands are household names, but chances are if you have dozens, hundreds, or thousands of metal albums taking up space in your home, you have something influenced by at least one of these groups. The guitar work was scintillating, often driven home by twin-guitar assaults, the vocals often strong and majestic, drawing comparisons to the power metal genre, and the songwriting was rock solid. It was, arguably, the greatest and most influential movements in heavy metal history.
Another major player at that time was Angel Witch, a London-based band that originally formed under the name Lucifer before settling on something a little more unique. Their self-titled 1980 album (released on Bronze Records) opened a lot of eyes and seemed to indicate they would be a major force for years to come, and that platter has achieved classic status and was inducted in Decibel’s Hall of Fame. In fact, just a couple years ago, a deluxe edition of that seminal record was released and is an absolute must-have for any NWOBHM enthusiasts. It’s like a textbook. It should be required listening.
But instead of becoming a household name, Angel Witch fell apart. The band’s lineup dissolved soon after their debut was released, and Kevin Heybourne was the only member who would have any steady role in the group going forward. The band put out a few records that didn’t really go anywhere and certainly couldn’t match the intensity and specialness of their first album, and eventually, Angel Witch appeared to fade into history. But interest kicked back up when the song “Angel Witch” was featured on the “Brutal Legend” videogame, their debut was reissued, and eventually Heybourne assembled a new version of the band for another go-round in the studio. But would it be worth the effort, or would Angel Witch sully their legend with an ill-conceived, late-career bomb?
Turns out Heybourne and his new troops – Will Palmer on bass, Andrew Prestidge on drums, and some guitarist named Bill Steer who played in a little-known group called Carcass – had some fire in their bellies. The music on “As Above, So Below” is churning and galloping, giving listeners a taste at how the true soldiers of the NWOBHM sound do things. The tracks totally rip and have a magic that sounds pulled right from their original era. In fact, the eight cuts on this album are heavier and more aggressive than what they did in their heyday, and this is by no means a washed-up concept trying to squeeze the last drops of life from their bodies. These guys are revived and ready to roll.
Actually, if there’s a drawback to “As Above, So Below,” it’s Heybourne’s voice. It’s only OK. It doesn’t have a lot of emotional variety, and often he sounds flat. He doesn’t embarrass himself by any means, and sometimes, such as on killer doom ballad “The Horla,” he’s in command. But the singing does take a little bit of effectiveness from these songs, but it’s not like someone else singing was – nor should have been – an option. We open with “Dead Sea Scrolls,” a true example of NWOBHM glory that is punchy and fiery. “Into the Dark” decries destruction that goes on around us (a little clumsily, though), and it has more of a traditional rock groove. “Witching Hour” kicks up dust and battles “The Horla” valiantly for distinction as the album’s best cut. The song has hooks galore and sharp lead guitar lines, revealing the power this band possesses. “Guillotine” has a Thin Lizzy thunder but a chorus that sucks some of the air out of things; and closer “Brainwashed” makes like an Iron Maiden storm across the plains with swords raised and horses screaming. The chorus is really predictable, so that’s a letdown, but it recovers OK.
It’s certainly not an album that contends with their debut (unless you’re judging by sheer heaviness and massiveness), but it’s a hell of a lot better than I expected. I’m pleasantly surprised by “As Above, So Below,” and it’s cool to finally have some new music from this legendary name (or, you know, Heybourne). I don’t know that I want the band to make any more albums beyond this one, but that’s not up to me (and if they served up more, I’d definitely check it out). For now, I’ll enjoy this late-career blast from Angel Witch and be satisfied they finally came up with a proper follow-up to their immortal first document.
For more on the band, go here: http://www.facebook.com/angelwitchofficial?sk=info
To buy the album, go here: http://www.indiemerchstore.com/item/13684/
For more on the label, go here: http://www.riseaboverecords.com/
Meat Mead Metal 