Although the band was only formed in 2012 by Soen guitarist Marcus Jidell and Candlemass chief Leif Edling, the guys are already back with their third album. The label describes them as where Black Sabbath meets soul and The Devil’s Blood meets Old School Rock, but they’re wrong. Produced by Marcus Jidell himself, while David Castillo (Katatonia, Bloodbath, Opeth) recorded and mixed it in the famous Ghost Ward Studios, and mastering undertaken by Jens Bogren (Soilwork, Sepultura), here we have an album that was probably a little dated forty-five years ago. What we have here boys and girls, is classic Uriah Heep, with Rickard Nilsson’s Hammond Organ linking with Marcus Jidell’s guitar in a way that is so very reminiscent of Ken Hensley and Mick Box, while Jennie-Ann Smith is different in her approach to the great David Byron, but channels him alongside her Maggie Bell approach.
This is warm, it is heavy, it is comforting and to someone my age also incredibly familiar in its approach. Those first five Heep albums were all classics in their own right, and this should also be judged in the same vein. The absolute standout is “Medusa Child” which twists and turns in many directions during its nine-minute long journey, even bringing in some children singing, while the guitar moves between leaden Iommi-style soundblasts into lighter territory, diving and swirling so that the listener isn’t always sure what is going to happen next. It almost seems as if a few different songs have been taken to pieces and then thrown back together as one, but it works incredibly well. Overall, this is a really enjoyable album, one that any fan of Seventies rock combined with Sabbath doom and a great production would do well to seek out.
