Released: 2013, Denomination Records
Reviewer: Metal-Rules.com UK Team
Formed in 1980, from Malmoe, Sweden SYRON VANES have over 30 years’ experience in the industry and they’re now back with their latest release, ‘Evil Redux’. Having been part of the first NWOBHM (New Wave of British Heavy Metal) bands and the early Swedish heavy metal scene you can expect to hear the echoes of this history in their new album.
Opening it up you can see 14 songs on the track listing so already there’s a nice bit of effort there. ‘Evil Redux’ begins with an overture using a war time speech as a vocal line before hitting you with a blast of the expected drama filled ambiance designed to lead you into the next track. Though a little quieter ambiance or equality between the two would have been better as it really does hit you.
Though you can hear the 80’s roots of the band through the album there’s also a few twists in store for you. ‘Sacrifice’ has got a definite Southern rock style flow with it’s short, sharp slightly swung rhythm flowing into hard edged rock which is not what I expected from this band nor from the preceding overture. There’s a solid, steady rhythmic flow to the song, with the vocal line almost in opposition.
Tuning your ear you can hear that the two are almost together, working in tandem, which is not immediately obvious as it almost sounds as if there is two songs together. Once my head gets around this I can then hear the power metal elements in the vocals. I also like the backing vocals’ and the way they repeat ‘sacrifice’ which gives it that slight touch of menace you can see they’re going for. ‘Flyblown World’ is another example where you can hear both these elements reappear.
‘Devil’s Dancing’ is more of a fun song and harking back to the hair days of 80’s which makes it stand out a bit more for it’s straightforward like’ability and easy recognition. Towards the end it again brings to mind that hard rock southern style, and combined with everything would be good to hear live
‘Only Hell Remains’ for me has the better start with a higher energy, more insistent rhythm from beginning and throughout giving it a determined edge. I really like the short, rapid, knocking style drum beat just before the chorus kicks in. Afterwards there’s a break, allowing for the return of those slightly menacing vocals, then the gun fire drums are back, but infinity faster. These drums sections are for me one of the best parts of the album, they’re just so well timed and cheeky.
As I mentioned earlier there’s some twists heading your way with these songs and one arrives in the form of ‘End of the World’ with its slow chugging rhythm and the introduction of an off tune sounding, slightly sitar style guitar. ‘King of it All’ continues with this sitar sounding melody but mixes it with an electro sound.
Overlaying later this with the straightforward sounding guitars and drums, building up the volume for a more natural linkage and move to more recognisable metal sound. It also brings back that clashing from the earlier ‘Sacrifice’, though this time it seems to be led by the rhythm, as opposed to the vocals, making it a bit challenging to listen to places. Keeping your ear tuned, but a bit uncomfortable.
‘Heaven and Back’ throws another more obvious curve ball with the odd electro introduction. The melody and rhythm is quickly repeated but harder and louder with the guitar, bass and drums which is pure arena rock. The chorus has a tone that you have no problem imagining an audience singing along to and it’s very easy and quick to pick up.
Overall it’s not a bad album. The roots of this band are clear throughout and I like that about it, but there’s also those curveballs thrown in to add an additional spice to the mix. There’s an obvious amount of care gone into creating and crafting all the various elements together, and the additions keep your ear tuned as it throws in twists and turns not only between the various songs but also during them.