NWOBHM legends, SATAN, return with their seventh album. Songs in Crimson reveals that the devil still writes the best tunes.

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Since their reunion in 2011, SATAN haven’t been content with trying to replicate the 1983 versions of themselves. As guitarist and founder member, Russ Tippins, suggests in the press release to accompany latest album, Songs in Crimson, those seeking the sound of early albums such as Court in the Act (1983) or Suspended Sentence (1987) may be a tad disappointed. He recently stated that: “We did not reunite just to trade on past glory. If you want nostalgia, this is not the band for you. We look only ahead and always will.”  

With all that being said, Songs in Crimson is still very much a SATAN record. Much of the album reminds the listener of why their brand of proto-thrash was such an intoxicating blend in the first place.

Produced at First Avenue Studios in the band’s hometown of Newcastle, UK, Songs in Crimson was once again mixed, mastered and recorded alongside engineer Dave Curle. 

SATAN (Photo Credit: Stefan Rosic at Conundrum Images)

REVIEW

Opener, “Frantic Zero” lives up to its name. Urgent, thrashy, almost bumblebee-like riffing ushers in a frenetic opener. Despite Brian Ross’s flamboyant vocals, the overall tone of the lyrics on this song is deceptively dark. The song foretells that contemporary existence has led to a state of anomie and “self-annihilation” is not too far into the future.

“Era (The Day Will Come)” is one of the strongest tracks on the album. Its looser, progressive sixties feel, conjured up by unpredictable tempo changes and eccentric vocal stylings is complemented by superb fretwork from Messrs Tippins and Ramsey.

The first proper headbanger on offer, “Whore of Babylon” is punctuated by evil riffing that becomes more distorted and scabrous as the song progresses. The song builds to a captivating crescendo and a satisfyingly sneering vocal conclusion.

“Sacrificial Bliss” slightly reminded me of Megadeth’s “Good Mourning/Black Friday” in the way that it slowly builds a menacing atmosphere from the outset. However, as the song develops it boasts a hook-laden chorus that wouldn’t be out of place on an album by fellow NWOBHM era luminaries, Tygers of Pan Tang.

The pedal is once again to the metal on “Martyrdom”, whose opening notes are not dissimilar to Sammy Hagar’s searing “This Planet’s on Fire”. An undercurrent of distortion amidst the clean guitar riffing gives this one a weighty feel and evokes the notion that the normally transcendent guitar soloing is unable to fully break out of a kind of static fog.

An opening cacophony that would not be out of place on a Slayer album gives way to more frenetic, bumblebee-like riffing on “Turn the Tide”. Yet, this song also boasts one of the most memorable choruses on the entire album.

“Captives” keeps up a rapid pace but the more measured riffing gives this one a slightly more classic feel and structure. In places, I was definitely getting Judas Priest “Rapid Fire” vibes, which is no bad thing.

Galloping Maiden-esque riffs baptise “Curse in Disguise”, before some delicious Slayer-like hooks compel the listener to loosen some serious dandruff. Probably the most outright fun track on the album, the dual guitar battling towards the end would compel even the most restrained audiences to get their air guitars out.

“Truth Bullet” is another belter. Distorted guitar pans in from left and right, before Brian Ross’s stupendous and, at times, dreamy vocals kick in. The band’s progressive influences are front and centre and Ross’s voice is the equivalent of a Jon Lord organ on this one, adding depth and resonance to the lyrical themes of honesty and bravery.

Songs in Crimson is capped off in triumphant fashion by “Deadly Crimson”. One of the more serious tracks on the album, its anti-capitalist theme is complemented by a stunning, slightly doomed out middle eight section. The song then builds to a climax with some sumptuous, elongated guitar soloing.

CONCLUSION

SATAN deliver yet another remarkably consistent album. Repeated listening is rewarded as the songs betray their progressive elements and confound expectations. A minor quibble is that on some of the tracks I wanted a bit more of the immediate, thrashy, in-your-face riffing that made early albums like Court in the Act stand out from the crowd. But, overall, Songs in Crimson will thrill fans of a band that are keeping the NWOBHM spirit alive with aplomb. A triumph

TheNWOTHM rating: 9/10

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