ALBUM REVIEW: SAXON, "CARPE DIEM"

In my UFO reviews, I expressed concern that SAXON was signalling that they were done because they released a covers album called Inspirations last year, and seeing how UFO and KROKUS went on their farewell tours after releasing covers albums, it stands to reason that releasing a covers album was a band’s way of saying that they had no more ideas left and were going to record some of their favorite tunes and retire. 

But, nah, there was no reason for concern. Saxon just wanted to record some covers, and now singer Biff Byford, guitarists Paul Quinn and Doug Scarratt, bassist Nibbs Carter, and drummer Nigel Glockler are back with a new album called Carpe Diem that’s so Saxon, it hurts. Ya know, critics like to goof on MOTÖRHEAD and AC/DC for making the same album over and over, but Saxon is no less “reliable” in this regard. Not that there’s a thing wrong with that! In this world of uncertainty, we need something as reliable as an old metal band delivering the predictably satisfying goods!

Actually it’s not entirely true that Saxon have always stayed the course; in the mid/late 80s, Saxon did attempt some sell-outy commerciality, going so far as to cover the CHRISTOPHER CROSS tune “Ride Like the Wind”, and some of their 90s albums started to sound more like hard rock than metal, so to speak. But, since
Killing Ground in 2001, Saxon has channelled their style towards straight-forward, kinda rote, sometimes repetitive, never complicated, but mostly catchy NWOBHM riffing with some phenomenal guitar solos and big choruses; and all of their albums are under 45 minutes long. 

Carpe Diem is no different in this regard. So, if ever you expected Saxon to make a Nostradamus or a Senjutsu, you’re a damn fool! First of all, Byford’s voice still sounds strong, and he can hit those notes in that kind of unmistakable weird, nasally, and whiny singing style. Secondly, as I said, while the riffs are pretty basic and rote, the guitar solos are terrific! Who’s actually playing them, though, Paul Quinn or Doug Scarratt?

Who knows? I just know that my favorite song on the album is the second track, “Age of Steam”, which makes the Industrial Revolution sound BAD ASS!!! Check out the following lyrics and tell me if they don’t make the evolution of machinery sound way cooler than warring with invading Viking hoards!

Stoke the fires to superheat
Work the mine the coal is deep
Feed the beast the slave of industry
People come to join the race
From town and fields to claim a stake
Of promised riches in cities paved in gold
Here comes the revolution
Here comes the age of steam
New machines of iron and steel 
Pulled the plow and turned the wheel
Every new invention changed the world
The railways came on iron tracks
Crossed the world no turning back
Bringing wealth and power to the few 

Do I sense a bit of class consciousness here? Is Saxon making a political statement? I dunno, but the song has some killer guitar interplay. On the other hand, the next song “The Pilgrimage” sounds like a less good re-write of “Hell’s Bells.” If you listen to the song, you’ll be like, "What is this, “Hell’s Bells” but suckier?" It’s not a terrible song, mind you, but it’s also not the reason a band like Saxon deserves their cult following. 

Thankfully the killer interplay is back on the next track “Dambusters”, particularly during the breakdown; and it’s about a big, killer bouncy ball! There’s some pretty righteous dual guitar interplay in the breakdowns in “Carpe Diem” and “Super Nova” as well. However, if I’m to be totally honest, I cannot say the same about “All for One” or “Black Is the Night”, which while good, stick to the fairly standard riffs ‘n’ solos formula. 

You also have “Lady in Gray”, a spooky tune which is the closest Saxon have ever gotten to goth-metal. It has “ah-ah-ah-ah” backup vocals and keyboards, but for the life of me, I could find no mention of who actually plays the keyboards. The song itself is alright, if a bit too slow and plodding for Saxon. On the other hand, the last track, “Living on the Limit”, is a total ripper. It succeeds in its aims, simply by being fast and sounding like Motörhead.  I don’t know why it’s the only fast song on the album – the rest are middle-upper tempo songs –but the fact that it’s fast and sounds like Motörhead makes up for any other deficiencies it might have, which I don’t believe it has any.

I also think “Remember the Fallen” is a little goofy. I guess it’s cool that they’re not shy about saying that it came from China, but holy cow, dudes, you treat Covid like it’s the Black Death or some enormous battle that wiped out half the world, and that those who died were these brave warriors who staved off invading Viking hoards. Maybe I should just be flattered that Biff and the boys consider me to be some kind of hero, because I was one of them “frontline workers” (frontline warriors?); when, in all honesty, I was just a cavalier asshole who treated the whole thing like a joke.

You know what’s not a joke? The new Saxon album. Go carpe it from your favorite record store now! 

Edwin Oslan
Revenge of Riff Raff
12th March, 2022


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