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First
things first; who cares about how hip this band looks and
ultimately is? We should all be here for the same reason; the
music, which if well-done should be weighed with the same scale
regardless of the maker. In the case of Saviours, the classic
metal music and quite pure I’d Like to add. You know, the
stuff of swords and sorcerers, of spells and curses, of legends
and mythical monsters, off hails and horns, of blatant
chauvinism and compassionate camaraderie, of epic silliness and
exaggerated brutality, of mind-numbing fastness and retarded
slowness, of high top Reeboks and Chuck Taylor’s, of tight
spandex and tight ass jeans, of lower than super low guttural
singers and higher than high banshee screamers, of loose and
sturdy sloppiness and surgical precision, of cold blooded
killers, fire starters and Christ lovers who sound like Satan
worshippers…I could go on forever. The point is, it seems like
we are all getting blinded and side tracked by trying to keep
tabs on who is real and who is not, when all we should be
worrying about is the sounds. And what I hear here is a band
reverentially kneeling down and executing classic epic
metal/rock and roll like many boys did back in the day.
Alas,
Saviours is keeping their tunes short but that goes to their
advantage, they’ve moved up with the times and know that that
way they’ve got the attention of this ADD generation. Because in
several passages they craft the type of epic metal that could
have filled an album with seven ten minute long songs.
Seemingly, but probably not, Into Abaddon goes a long way
into mythical stories about really uninteresting shit; like Lord
of the Rings or Star Wars, but whether that’s cool or not it’s
up to the fan, because truth be told was it not for all that
crap there probably wouldn’t be any heavy metal. Plus, look at
the artwork of Into Abaddon; four ghostly horsemen, a
pyramid, thunder, rocky mountains shaped like skulls and all
sort of utterly reverential heavy metal imagery. And what’s
inside sounds nothing like irony; classic riffs indebted as much
to the guitar tandem of Iron Maiden as to the straight forward
gut punch of Motorhead (and the occasional psychedelic shootout,
like at the tail end of “Narcotic Sea”) delivered with all the
one pack a day enchanting gruff of Lemmy. Clearly, this album
was carefully planned, and the band’s hardcore past is nowhere
to be heard. Into Abaddon is as far removed from
hardcore as Maiden are from Wang Chung. “Cavern of Mind”, check
it out and you’ll go back to your calendar; in disbelief that
metal this classic sounding is getting the treatment in 2008.
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