ALBUM REVIEW: Satan - Songs in Crimson

Satan were founded in Newcastle-Upon-Tyne in 1980 and formed part of the New Wave of British Heavy Metal and released their debut album Court in the Act in 1983. Having gone through various line-up changes, name changes (Blind Fury for the 1985 album Out of Reach, reverting to Satan for 1987's Suspended Sentence, then changing to Pariah for three releases, with a nine-year gap between the latter two), and a paraphrased extended "lunch break", Satan got back together under the original moniker in 2011. Since then, they have released albums at quite a frequent rate with the upcoming Songs in Crimson being the fifth. 

There is definitely a proto thrash feel to this album, with gallops and chugs aplenty played by guitarists and founding members Russ Tippins and Steve Ramsey. The remainder of the band have been present from the early years or were present and have returned. Vocals are refreshingly sung by Brian Ross, and do hark back to the early 80s style, without the harsh growls or falsettos. Graeme English's bass has a good mix of rhythm and dynamic melodic runs which are dialled into Sean Taylor's drums and provide a base to drive the songs along.  

The opener starts at a pace that the title Frantic Zero suggests, with the NWOBHM vibe apparent from the offset. The initial guitar motif does seem a little too rushed towards the end part but then the song settles into a good pace with a great riff and Ross bellows out the story of dystopia. A little more discord enters Era (The Day Will Come) on the music and vocal front, after an initial melodic lead guitar. The solos here are not showy and compliment the music. Whore of Babylon enters with a counterpoint of ascending and descending dual guitar which brings a different kind of intro into play. The track then proceeds with a more mid-paced feel. A short bass solo and then bass and drums break the track up nicely. 

Sacramental Rites is one of my favourites, with an acoustic intro with guitar and bass interplay, before it hits an almost Megadeth-like riff, and a more traditional metal chorus, and Maiden-esque guitars. The middle-section slows down adds to the atmosphere, before picking up the pace into a more shredding solo. Next up is Martyrdom, which starts off quickly, and guitars play different riffs for the intro and verse, before uniting. There is, again, a Maiden Powerslave era feel to some of this. Making me think of Back in the Village and Flash of the Blade. Turn the Tide is thrashy from the start, with a change in tempo for the bridge and chorus, where it chugs along with a sing-along chorus (until the scream!). A nice, shared solo over a fast-paced riff gives way to the last chorus and finale. Track seven, Captives, has an intro riff reminiscent of Iron Maiden or Metallica Kill ‘em All, an up-tempo bluesiness, which it returns to between verse parts, and choruses. It provides a good root to the song, and is built on and subtly changed throughout, which is something I really like. 

Guitar feedback sets up Curse in Disguise before the drums come in with a Powerslave like roll, and it gallops away in classic style but interest time signatures afoot. It then settles into a chug-fest, with some nice dual guitar touches, before going into high gear again and racing off down the straight, and returning to the original riff, but with vocals. The ninth track, Truth Bullet is established around a mid-paced riff and a vocal that evokes Joey Belladonna on Medusa; it then takes on its own identity, with a distorted/effect ladened picked guitar for the verse, and head nodding chuggy chorus. It abruptly changes direction for the middle section with a 7/8 and 8/8 feel. This metamorphosises into a section of solo played over the first riff’s driven section. The album is completed by Deadly Crimson, with a now characteristic riffing from the guitarists, and lyrics that blast capitalism. The middle of this track really slows down the speed, one of the slowest parts on album, and with some heavy discord, before it is switched up. 

The songs work well and do not outstay their welcome, getting the message across. None go over the five-minute mark, and total length is the best one, just under 45 mins, so would sit on one side of a C90. Nothing worse than having to tape onto the other side or use a C60. I enjoy the guitar interplay and the fact that sometimes the guitars are playing different parts. The bass is a good mixture of rhythmic and melodic and the rhythm section is locked in. I do like the vocals, but sometimes the phrasing and flow doesn’t fit quite right for me and backing vocals don’t seem to complement the main in some instances. The main downside comes from a production point of view. The bass lines are good, but it seems high in the mix, and a little muddy. The lead guitar, especially the left, seems too fuzzy and muddy. While it did take a few listens to get in, I started to enjoy the old school vibe with a certain new feel to it. Whilst it isn’t breaking new ground, it does what you need it to do.

Songs in Crimson is released via Metal Blade Records on 13th September

Review by Rich 'Tricky' Hudson