Anthem - Burning Oath (2012)

What's always so astonished me about Japanese entertainment is just how meticulous the country's artists are, across many mediums, at assimilating and regurgitating culture from abroad. That is not a gripe, because in many, many places they actively improve upon the subject matter and evolve it to another level. Metal is a great example of this process, and Anthem no exception. In the early 80s, they took their queues from Deep Purple, Judas Priest and later Ozzy Osbourne's solo records and really ran with the style, producing a long string of quality records that only took a dip through the 90s, when the band was largely inactive (thus avoiding most of the metal slump of that decade). When they returned in full force for the 21st century, their roots had eventually transformed them into a fusion of traditional/NWOBHM, power and party metal with something for nearly everyone, and since that point I can't recall a single outing which didn't have at least SOME great songs...peaking with the surprisingly excellent Black Empire in 2008.

If I've any complaint about the latest and 15th full-length Burning Oath, it's that to an extent Anthem are playing it safe here. A number of verse and chorus sequences and vocal melodies here stick pretty close to those we've heard before over the last decade, and there must have been 4-5 points on the record in which I felt my internal fanboy about to erupt into the chorus of "The Voices" or some other amazing tune they've written. It's not that note for note they adhere to the same blueprint, but they seem to flirt with such similar structures that a lot of the tunes' riffs and vocals could be interchanged with some previously released. That said, this is probably the ONLY complaint I've got with the new album, because in just about every other department the band excels with jaw dropping precision. Burning Oath is so bloody good that you have to wonder why Anthem is not a household name among traditional metal fanatics? Is it the language barrier which makes the lyrics a bit hard to swallow even when they're in English? Is is that they're just too damn polished and lack the characteristic flaws of cult recordings? Or is it that people seem to have settled into a limited array of popular artists and there's just no more 'room' left? Because I will say it here: Burning Oath, and really almost ANY Anthem record of the past decade has been exponentially more impressive than what Judas Priest or Iron Maiden have put out lately, even if they don't have the safety net of having 'been there first'.

In terms of pacing, production, and enthusiasm, you are not going to find a more professional outlet than this 30+ year veteran. In particular, I've got to point out the performance of axeslinger Akio Shimizu who is hands down one of the most prominent and skilled lead players the world over. His techniques are like a love triangle between Randy Rhoads, Yngwie Malmsteen, and Eddie Van Halen. Technically impressive, catchier than most of the rhythm licks, emotionally resonant and exciting. A beautiful balance of both classical and rock guitar fundamentals, spinning that old 80s verve into the present and future. But this is NOT a 'shred' album, because all of Akio's acrobatics complement the rhythm progressions, and they take center stage here with ample force. From the Judas Priest/Accept/Primal Fear power metal chugging in "Evil One" or "Life of Crime" to the more spacious chords and harmonies of something like "Unbroken Sign", you never get the hint that even one note is misplaced. Not to say that every riff sequence is dazzlingly memorable or innovative, but when you take a step back to look at the overall structure of the album, Anthem never bites off more than it can chew and this is yet another incessantly reliable set of songs.

Of course, Shimizu's playing doesn't carry the album by itself. He's got the support of one of long time bassist Naoto Shibata, and then drummer Hirotsugu Homma, who came into Anthem around the same time as Akio. The bass lines hear are nothing out of the ordinary, but the tone is muscular just like the best of that whole Teutonic, Priest-inspired scene, and it'll continuously clout you between the ears even if the note patterns don't stand out far from the guitars. It'd be hard to imagine a better drum mix for this super-polished style, but there aren't a load of crazy fills or anything, just strenuous rock and metal beats flush with the riffing. For not the first time, a number of orchestral synthesizers, strings and bells and such are incorporated here for atmosphere, usually in the intros to tunes like "Get Away". It's not a full-on 'symphonic' metal suite here, and the rock instruments take center stage, but there's certainly enough dressing for fans of the more epic power metal scene, without the cheesy competing guitar/key leads and others that generally transpire.

This is now Ezio's 10th album with Anthem, and he sounds pretty consistent with Immortal, Heraldic Vice of Black Empire. The guy's not a screamer on a Halford scale, but what he might lack for range he always makes up for in passion and closely knit melodic lines that are almost always catchy, even if they often seem redundant with past tracks. His inflection also holds up quite loudly for sustained notes, and I personally love the accent that always creeps through, it's one of the major reasons groups like this and Loudness are so distinct and timeless. I generally don't try too hard with the lyrics, because my Japanese is far from perfect and when I attempt to understand them in English the imagery doesn't always fit my Western sensibilities (a common issue in song translation between the two tongues); but at the very least songs like "Double Helix", "Struggle Action" and "Face the Core" seem pretty unique for this medium. Anthem is a band immersed in a modern world of social networking and technology. They're about as metrosexual as you're going to find in traditional heavy/power metal, so don't expect flowery songs about trolls and unicorns. Not that I have a problem with all of that, but I can ride the T in the morning with this stuff blasting from my headphones and feel like it's somewhat relevant to what's happening around me.

Just about every song here is good enough to sit through repeatedly, but particular favorites were "On and On" and "Face the Core" with their crispy, crunchy verse rhythms and uplifting chord escalation; "Ghost in the Flame" for its strange, pumping bass, bluesy swagger and atmosphere; and "Life and Crime" which brings out that German-loving banger within me and makes me want to flip over a car with my bare hands (though I admit that primary riff sequence isn't a hell of a lot different that several Primal Fear or U.D.O. have released). Also, every single fucking lead guitar sequence chokes me up with envy. The worst you can say for Burning Oath is that it's barking up the same tree as the last five albums, but all of you J-metal diehards into Loudness, E.Z.O., Blizard, Saber Tiger, X Japan (sans ballads), (old) Earthshaker or even the more symphonic outfits like Galneryus, Balflare and Concerto Moon should at least give this disc the opportunity to win you over. Low on originality perhaps, but Tokyo Tower-height in quality.

Verdict: Win [8.75/10]

http://www.universal-music.co.jp/anthem/

Anthem - Heraldic Device (2011)

Few Japanese acts (in any medium) have brought me as much joy as the melodic speed metal stalwarts Anthem. First introduced to their music through countless bargain record bins and mail orders in the 80s and 90s, I've been constantly impressed with their devotion to a sound that so few people truly appreciate anymore. The first six studio albums (1985-1990) were loaded with quality songwriting comparable to the great American and European acts of the day like Accept and Judas Priest, with the added flair of the mildly Engrish accent and the competent all-around performances. I mean, this band was (and is) better than fucking Loudness, a band who caused a far larger splash internationally! And I actually enjoy Loudness, so that is saying something...

Well, there was a bit of a dry stretch in the 90s through albums like Domestic Booty and Heavy Metal Anthem, but they suddenly hit full force again with 21st century records like Overload ("The Voices" is so good it hurts), Immortal and the superb Black Empire a few years back. Heraldic Device, the band's 14th full-length, more or less follows the examples set by its direct predecessor: lots of variation, insanely polished and competent musicianship, and a production that rivals anything coming out of Europe. Where bands like Hammerfall are tripping over themselves attempting to branch out their sounds (and not quite succeeding), Anthem plays it pretty straight, with fast, heart-pounding rhythms and reliable chorus sequences ("Contagious"), throw down 80s styled block parties ("Go!"), and even a moderate attempt to recapture the glory of Scorpions rockers "Rock You Like a Hurricane" or "No One Like You" (here dubbed "Blind Alley").

They can also go just as big and mystic as their peers Concerto Moon or Balflare with the broad traverse cut through "Wayfaring Man", or soften their hearts without going all ballad on us ("Remains"). Personally, I prefer when the band evokes the steamy street appeal of their 80s catalog ("In the Dead of Night", "Code of the Silence"), but the majority of the new tunes here are at worst solid, and at best dynamo. It's not equivalent to Black Empire in terms of its overall quality, but Eizo Sakamoto's familiar pipes, and Akio Shimizu's penchant for flawless shred will ensure that the diehards are still having a good time, and if you enjoyed any of their releases over this past decade, then there's hardly a reason to hold back here, even if its not as catchy nor revelatory as its predecessor, nor as rugged and effective as its elderly 80s siblings. Worth hearing for any ardent J-metaller.

Verdict: Win [7.5/10]

http://www.jvcmusic.co.jp/anthem/

Anthem - No Smoke Without Fire (1990)

Of all the traditional Japanese metal bands out there, it must be Anthem who best represent what I love about that country's take on the genre. This is a band who have never flinched in the face of trends, never given a goddamn about the changing times and the onslaught of newer, more extreme strains of the art, and continued to produce good album after good album of old school, NWOBHM-derived riffing, powerful vocals and killer guitar solos. Whether I'm heading out on the highway or in dire need of an adrenaline shock while sitting in front of a stack of bills or being made miserable by a woman or some other life situation, I know that I can always rely on Anthem to get my fist pumping and testosterone amplified. Even at their worst, they are better than most other bands could ever dream. For fuck's sake, this is a band that pulled off an album called Domestic Booty successfully...does someone want to tell me why this treasure festers forever in obscurity while bands like Accept and Judas Priest remain decades deep in the rotation, and HammerFall and Dream Evil can tour internationally?

But No Smoke Without Fire is the album directly before that poorly-titled affair, and their sixth, already well into veteran status due to a string of great releases in the 80s. It doesn't mix up the formula much from its predecessor Hunting Time, though the presence of keyboards has slightly increased, adding a level of atmosphere that one may not have experienced so much on albums like Tightrope or Bound to Break. Anthem seemed primed here for their second decade of ass-kicking, and there is a simplicity and confidence to the writing which does in fact pucker up the buttocks with a red, swollen boot mark. It's amazing that so much of the lineup here differs from the current (only bassist Naoto Shibata remains), but the band sounds comparable to the most recent offering Black Empire. That is true consistency!

There is no weak link among the tracks of No Smoke Without Fire. Though certain of the songs may not stand as eternally triumphant as others, this is the sort of record you can put on playthrough 20 years after it was released and enjoy in its full 45 minute glory. The riffing is clearly inspired by Judas Priest, falling somewhere between Ram It Down and Painkiller in intensity but with the added layer of keyboards, used primarily to accent particular sections of songs like the opener "Shadow Walk". This mix of street metal and melodic sensibility only compounds the album's qualities, and when Hiroya Fukuda arrives at that blissful solo, you are either fully on board this train or a fucking poseur still standing on the tracks. No explanation is needed for the all out mid-paced rocking of "Hungry Soul". If you've ever found yourself head banging to a slower power metal riff in your life, you will like this song. "Blinded Pain" feels like the sort of anthem that would have a whole lot of Japanese fists in the air in the pause between the rollicking guitars, where the bass and Yukio work in melodic tandem.

Now would be the time for some dopey ballad if you were any other band performing in the late 80s power/speed metal genre, but NOT Anthem! No, the middle chunk of this record is the fastest and probably the best, beginning with the no-frills hammering of "Do You Understand", which should light a fire under your duff if you've ever dreamed of leather or a distant roadway. "Love On the Edge" features a righteous melodic hook that reminds me somewhat of the band's countrymen Dead End, and may be my single standing favorite from this entire disc. Simply an unforgettable composition, and when the synths arrive over the bridge, you get that unshakable feeling of generations being crossed. "Voice of Thunderstorm" picks up the pace even more, the sort of song Primal Fear should be writing instead of all the boredom they've induced with their latest offering. Excellent speed metal hooks, guitars going wild all over, and never forgetting its core melodic values as it heads straight for the top.

"Power & Blood" is like a "Breaking the Law" or "Balls to the Walls" only with a graceful keyboard cheery on top. Sure, it might feel dated, but all the best wines are... It's total party in the sun metal of the most accessible sort, with only subtle shifts in the vocals that herald the KISS-like chorus. Almost as if to apologize, "Fever Eyes" returns to a frenzy of burning lead speed metal, perfect for the motorcycle or any dragster you own. If anything, it suffers from sounding a little similar to many other tracks in the bands now vast repertoire, and it's not as memorable as the rest of this album, but it fits in snugly. "The Night We Stand" suffers no such fate, with a roaring twin melodic intro that drips on the ears like hot wax on the chest, before Yukio's swaggering vocals herald the shuffling, moody NWOBHM blues of the wandering verse riffs. More epic keyboards arrive here, like a clarion bouncing off the walls of a castle.

Pound for pound, Anthem are one of the few bands that have delivered almost 30 years of consistent, excellent metal for fans of the classic stylings which surfaced in the 80s. They deserve far more credit for their longevity and personal investment in quality, and I feel like they could appeal to a wide variety of metal fans, from the Accept and Judas Priest worshiping core of the power metal fanbase, to fans of edgier, moody hard rock like Deep Purple or Whitesnake. No Smoke Without Fire may not be their grand slam, but it's another of many album's in the band's catalog which continue to impress me today. Unless you were born in like 1993+ and thus have no exposure or concern for anything aside from death, black and metalcore, they are more than worth your attention, so what exactly are you waiting for?

Highlights: Shadow Walk, Hungry Soul, Love On the Edge, Voice of Thunderstorm, The Night We Stand

Verdict: Win [8.75/10]

http://www.jvcmusic.co.jp/anthem/

Anthem - Black Empire (2008)

Anthem have long been one of my favorite Japanese metal bands, throughout the 80s, 90s and 21st century. Their penchant for composing simple, by the book melodic metal with catchy vocal lines (in both Japanese and English) has produced nary a weak moment in their career. They've always been better than Loudness (the two bands have shared members) and other bands that have seen more spotlight, and it's a shame. This new album, Black Empire, their 13th full-length, is ample evidence why.

Let's start with the cover art...just how pensive is that image? Yet it makes perfect sense to me. On to the production...never has an Anthem album sounded this good. Granted, they've never NEEDED to sound this good because the music is generally such high quality (but I can think of at least a few albums where the vocals were too loud and the mix was way off). But here you get an exemplary balance where all the instruments can shine, including the use of synths on many of the tracks. Every lick of just about every solo on the album is perfectly placed to provide an adventure within the track...yeah, the way solos SHOULD always be played on this type of album.

The title track kicks off the album with mid-paced Judas Priest style guitars layered in Eizo Sakamoto's unmistakable vocal presence. The chorus is catchy and highlighted by the light keyboard flourishes. This is prime 80s radio ready power metal here, make no mistake. It's catchy and quite accessible. "Heat of the Night" starts a little faster, with a definite German speed/power metal vibe under some shrill guitar wailing. It is clear at this point that Anthem intends to really kick our asses on this album. I couldn't be happier. Another great chorus with good off-vocals. "You" is a rock and roller through and through, with the roots Priest/Sabbath influence to its riffing and the erupting melodic chorus. "Go Insane" is hyper and melodic and once again lays a smacking down. Again, Akio Shimizu's guitar wails add a layered haunting to the bridge riff. "Walk Through the Night" is an extremely cheesy radio ballad with female guest vocals, it's straight out of like 1984 or something but I love it. "Emptiness World" is back to rocking. "Telling You" is anothers highly 80s rocker which reminds me of Def Leppard, King Diamond and Saxon from that period. "Pilgrim" is an epic instrumental, slower-paced tune with beautiful neo-classical guitar melodies and some wonderful shredding. "Awake" is another melodic, anthemic metal number and the album closer "Perfect Crawler" is once again back to the Priest way of doing things. I have no problem with this since Priest themselves seem incapable of doing it anymore.

The bottom line, this is a fantastic new album from Anthem and I am thrilled to see them releasing such superb material so deep into their career. I will be listening to this for some time and in addition it's likely to make me break out their discography yet again. One of the world's premiere melodic heavy metal bands even if they've never had an inkling of the respect they deserve. This is more likely to appeal to classics 80s metalheads and j-rockers than to the Dragonforce/Rhapsody sect of Johnny-come-lately ADD-induced symphonic shred power metal fans, but who cares. It rocks like there is no tomorrow, and that is all I want to hear when see the Anthem logo.

Verdict: Epic Win [9/10]

http://www.jvcmusic.co.jp/anthem/