2024-04-07 09:45:18
The scene all-star combo Savage Oath solves with the epic power metal of their debut album Divine Battle almost all of the promises they made during their 2023 round of interviews. And that despite a serious cosmetic flaw.
That would be: The sound of the record is at least a subjective bone of contention because it sometimes feels like it was mixed in a cardboard box. The vocals are really extremely dominant in the foreground, the bass can hardly be heard individually due to the general volume, while the drums are often not shown physically enough and the guitars can blur indifferently apart from their pedestal scene.
On the other hand, a rawness is preserved Divine Battle before the kitsch that all the pathos of Savage Oath with his melodramatically gesticulating vocal lines (above the Sumerlands-Restart) and developed the anthemic-seeking solos and compelling riffs without any dizziness – in the latently ignited euphoria that, even if you have problems with the mix and master of the record, leaves no doubt about what a really great one Metal pirouette by the outstanding Brendan Radigan (“Vocals and Lyrics“), Phil Ross („Bass and Electronics“), Leeland Campana („Lead Guitar and Lyrics for Wings of Vengeance and Savage Oath“), Carlos Llanas („Guitar“) und Ryan Mower („Session Drums“) da mit Paris Thibault („Choirs on Blood for the King and Divine Battle“) since it still succeeded.
Bursting with power, powerfully compelling and making the endorphins shake the mat, rattle in Knight of the Night The sabers and the lions roar in the arena, the guitars howl in a larger-than-life heroism, the opulence of which is also little inflated Maiden– should pick up disciples on their increasingly epoch-making path. The performance fuels what, strictly speaking, is a lack of original songwriting so urgently that the band’s unconditionality grabs you without discussion. That’s where the pathos gallops Wings of Vengeance for the hussar ride with string magic: Savage Oath They are brimming with self-confidence and appear determined at every second, leaning into every curve with a never-ending passion, never giving the impression that this is a debut that first has to find itself and its orientation . A factor that also sparks an almost flawless album flow.
Blood for the King slows down the tempo more imploringly, stands for the balance of the overall dynamic and at the same time allows himself a “Ohhhhhhh“Stadium flirtation with a thumping descent and a swaying anthem. Smoke at Dawn is a soothing, synthetic interlude in the dystopian rain over the battlefield and Madness of the Crowd Fiddles quickly, relentlessly, not only keeps up the pace without any signs of fatigue, but is also the in-house crowning glory for all the endurance and vehemence. Perhaps the biggest plus of the record is that it makes it tangible and palpable the infectious, absolute joy with which this band thrives in their profession.
How routinely the arc of tension is then rounded off is almost as strong: the piece that gives the band name leans back with almost classic rock vibes in wistful, contemplative medieval shades and makes the headbanging more contemplative, Jack Black will like it and forget it with his final hustle and bustle through the harbor in the mystical night also not to its imaginative effect, before the reserved title track with acoustic guitar and sparse percussion, despite choirs, represents a kind of folkloric conclusion (including a relaxed flamenco twist), which is a conciliatory conclusion that is completely swayed in its atmosphere – and Divine Battle leads to a fantastic finale even if the overall work is not quite as triumphant as one might have hoped after the first round of performances.
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