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...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
...( Opis )...
Reedycja debiutu Syar z 1984 roku. Na drugim krążku "odkopane" nagrania, które miały znaleźć się na drugiej płycie, a ostatecznie kilka z nich znalazło miejsce na płycie Maineeaxe. NWOBHM!
I came into contact with this Syar album well after i had explored a lot of the depths of NWOBHM available at the time, painstaking searches, often fruitless back then, cross referencing and excitedly finding material or samples on some of the better blogs out there. Even after a thorough gleaning of offerings from the NWOBHM canon, Syar were a band i had at that point about 4 years back, never heard of. On initial listens, i was for some reason fairly disappointed with the record. Perhaps at the time my ears had been saturated by an affinity with some of the cooler gems out there such as Trespass’ EP, Dragonslayer’s compilation, and phenomenally original bands like Tredegar and utter fixations like Storm Queen. Syar mustn’t have been as worthy of note perhaps? i thought at the time. I had been hearing through the internet how people had fixated on the same offerings i thought stood out; Wolf, Trespass, Geddes Axe seemed to have their elitist supporters, but never had i once seen a discussion about Syar. I for some time forgot about the record until later, on one of my all too familiar beer drinkin’, sun-soakin’, NWOBHM munts (NWOBHM i argue being the best beer drinking music in existence), where in a tipsy haze i stumbled through suitable material to whip on over the old speakers, while downing a few ice cold tins of H-Land. It was this later drunken munt, where i suddenly realised Syar, with it’s meat n’ veg, no BS sound - actually offers up a killer, and well worthy LP in ‘84’s ‘Death Before Dishonour’.
Syar’s style is very much in the definitive through the middle, genre defining British metal sound of the late 70s, early 80s. Unlike Omega, Chasar, Saracen and others, Syar doesn’t opt for the extended passages and complexity of the prog-influenced variety, nor gun it for the edgier (and remember this is an ‘84 record), rough and raw style of acts such as Atomkraft, Tank, the snarling Chateaux, and the mighty Avenger. Syar churns out that same quintessentially British, boyish, 70’s rock inspired classic NWOBHM sound in the vein of Trespass, Brunel, Panza Division, and early Def Leppard. And i just so happen to have a hard-on for this classic sound. Typifying the sound of course are energetic young man, worshiping bands like The Who, Sabbath and Zeppellin, and raised on 70s glam, cranking up the energy to bring to the stage the most exciting form of rock n roll witnessed at that point. Syar execute a well polished version of this style bringing to the table a lot of the same notability of bands like Dragonslayer, or Marquis de Sade - we’ve got a lot of stuff on here that sounds like it wouldn’t be out of place on Def Leppard’s stunner debut record ‘On Thru the Night (1980). This sound is crafted through a style of guitars with simple crunching chords, less aggressive than the dirtier, speed metallish style of the nastier edged acts, rock n roll drums, and an appreciation for great vocal melodies very much drawing inspiration from 70s rock, and of course Thin Lizzy.
The title track ‘Death Before Dishonour’ is a bit of a mini-masterpiece. Less poppy in sound and direction, this subject matter, and lyrical content is very common in NWOBHM - a generation of baby boomer kids growing up in the 60s and 70s in a Europe still very much affected by the war, and no doubt literate in books such as ‘All Quiet on the Western Front’, with its graphic depictions and relatable anti-war leanings. This deep piece shares themes with so many countless other European traditional metal numbers written by this same generation of kids, living with constant reminders of the War in Europe. (One piece I’m reminded of is the fantastic band Legend’s epic cut ‘Song for a Soldier’) Let’s not forget that in many cities the rebuilding efforts continued well into the 60s, and even the 70s, after the destruction had initially swept through. This lengthy 6 minute number, like much of the ‘NWOBHM in signature-style’, may seem at first simplistic, but in closer analysis is almost like a junior Iron Maiden track with it’s numerous cool little sections, warfare oratory, and really nifty guitar leads. I really think it’s a neat, grower of a track that was well picked as a title cut. Though an ever so slightly more complex arrangement, this number fits in with the simplistic, youthfully exuberant British rock style available in the other cuts.
One of my favourite cuts is ‘I’m Taking Off’ - very much signature-style NWOBHM with it’s lovelife-focus, bad boy lyrics, and oh-so-classic punching guitars, simplistic rock n roll drums, and overall straightforwardness. It’s one of the distinctive cuts, and from the opening section, along with other belters like ‘Taking a Gamble’ (again: such archetypal titles!) and ‘Judgement’, with their simplistic, crunchin’ chords just give you that instant sound - you know you’re in for dirty, no frills NWOBHM to get that head gently noddin’. ‘I’m Taking Off’ is perhaps the song on the album that most evokes ‘On Thru the Night’ era ‘Leppard, with a simplistic confidence and catchiness. ‘High Flyer’ continues the typical lyrical themes, dirty riffage and rock n roll edge, evoking tones of Goldsmith - another great proponent of this particular sub-set of British metal bands. ‘Trail Blazer’ emits vibes akin to late 70’s Priest, perhaps songs like ‘Starbreaker’, yet in a more simple, less standout manner. Vocals are boyish and confident, guitars are actually quite well done, while the lite production, and straightforwardness of the rhythm section keeps them largely from making an impact. The whole vibe of these songs is kept lite, thin, 70s, and unaggressive with a production job that feels lucid and manageable; distortion and drums aren’t calling in artillery on listeners, and it doesn’t have the gnarly, scrappy edge of the Ebony bands - very much a rock recording, which helps elucidate that early Def Leppard feel.
Syar’s only full length here might not have the notability of some of the other bands playing the same style: Chariot, A-II-Z, Trespass and Jaguar certainly have the notability, but Syar carves out a competent record here in the ‘Center-Style’. It may be middle-of-the-road, and there are better examples, such as Legend - who have a real uniqueness and striking sound, I’ll admit that, but it’s a solid record if somewhat less memorable than some of the titans. Bands like Damacles and Trespass deserve their cult status, but Syar bests acts like Chinawite and Chinatown with ease. Those who appreciate this brand, or perhaps 80s metal in general, would do well to give her a few spins, though i particularly recommend an accompanying skittlebrau. It’s straightforward British hard rock that with a lite feel and being much less furious than Raven or Avenger, exemplifies that special period of musical history, where the culmination of rock n roll history from Buddy Holly, and 60s do-wop, through British hard rock like Slade, T-Rex and Thin Lizzy give way to these new crop of young British lads to kick everything out the way and rock out out pure n hard with this ever so perfect form of energetic hard rock, perfectly capturing that evolutionary epoch in which the old gave way to the new, in such an exciting, salient and authoritative way.
DeathRiderDoom
...( TrackList )...
CD 1:
1. On the Streets
2. Speeder
3. Find the Angel
4. I'm Taking Off
5. Death Before Dishonour
6. High Flyer
7. Judgement
8. Taking a Gamble
9. Warriors
10. Trail Blazer
11. Deep in the Night
CD 2:
1. Get Up, Get Down
2. Beggars Can't Be Choosers
3. Ride the Storm
4. Misgivings
5. The Best Is Yet to Come
6. Alone Again
7. Black Panther
8. The Rising
9. Look Thru' You
10. An Hour of Thunder
...( Obsada )...
Roger Gibbons - Bass
Nigel Harrison - Drums
Buzz - Guitars
Grant Kirkhope - Guitars
Martin Berkeley - Vocals
https://www.youtube.com/watch?v=ESEwwSYjHHY
SEED 14:30-23:00.
POLECAM!!!
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