Like the jack-in-the-box, Lillian Axe jumps up and releases a new album right out of the blue, the band’s first in 10 years. At least I hadn’t seen any information of the band releasing new music until the album showed up in August of 2022. The band that only original member, guitarist Steve Blaze reunited in 2007 is a whole other beast than the band that released four killer records between 1988 – 1993. Lillian Axe of today is more prog-metal oriented than the more straight forward melodic Hard Rock band they were back then even though the melody arrangements is quite recognizable. Which version is the best one is up for debate but for me personally, I can’t really choose as I really dig both versions.
With the exception of Blaze and second guitarist Sam Poitevent who has been with Blaze since 2007, the line-up here is brand new – vocalist Brent Graham, the band’s fourth vocalist, who replaced Brian Jones who replaced Ronny Munro who replaced Derrick LeFevre, drummer Wayne Stokely and original bassist – who was in the band from the start up until 1987 and therefore never recorded with the band – Michael “Maxx” Darby. The new record is a concept record about the “timeline from the birth of a child to the ascension of the soul, with each song emphasizing a specific time of one’s life and the lessons learned therein”, according to Blaze and musically in the vein of their later records.
The album opens with “Breathe”, an intro song that’s piano-led with strings, slow and dark with a noisy interplay. It contains some major vocal-harmonies chanting “breathe in the air”, dramatic and hypnotic. If you’re gonna have an intro this is the way to do it. That leads us into the real opener and lead-off single “I Am Beyond”, a heavy and dark number that holds some edgy riffing and a slower pace. It’s slightly prog-laden too with more laid-back verses and delicate keyboards which contrasts brilliantly to the edgy metal fueled refrain. Good one.
“Neverending Me (Dempsey’s Kick)” starts out low-key and mellow in a ballad way, slow and introvert but it changes direction and takes on a faster tempo and a bouncier beat and again a progressive outlook which culminates into a rough metal-edge towards the end of the song. The melodic refrain with big vocal-harmonies is nothing short of splendid. Great track. The short and concise titled “A” is more of an interlude than actual song – 39 seconds short – which holds a ghostly atmosphere and horror-like sounds. It’s a spooky sounding piece and a great path to get us into the next number.
“The Golden Dragon” is upbeat, riffy, heavy and holds a punchy and robust rhythm where the structure is more straight-forward and the guitars are crunchy and rowdy. The melodies are immediate and sticks fast and the whole approach and throws a nod back to the early days, especially an album like Psychoschizophrenia (1994) and the chorus is direct and catchy. This is great. “Piercing The Veil” is another short interlude which leads us into “Migrating North”, a tune that starts out solemn and quiet with only vocals and piano but when the band comes in it gets heavier and bombastic yet still on a ballad note albeit dark and edgy with some intoxicating vocal-melodies. It’s a brilliant slow-burn with a magnificent chorus. Awesome.
On a stripped down note “No Problem” brings on the band’s emotional and soulful side. Very low-key and deep with a saddening touch, not unlike the magnificent “The Needle And Your Pain” from Psychoschizoprenia. It’s a mellow, short piece that really grabs me – a wonderful tune that paves way for the gritty and edgy “Dance Of The Maggots”. It starts out with a Georgian chanting choir that reminds me a bit of Ghost. It’s an epic seven minute monster of a song, dark, moody and heavy in a slower tempo. The vocals are held-back at times but also quite grandiose but still on the smoother side. It’s very much a Stevie Blaze number that blends Lillian Axe’s heavier past with the structure of the later records. Phenomenal.
Continuing the slow, dark and heavy route, “Fall Of The Human Condition” has an ominous sounding organ in the background which together with the dreamy flow brings on a ghostly ambience. Still the main melody is quite distinct and the solo-part is fast, tough and punchy meat n’ potatoes heavy rock. There are slightly proggy inserts too but still they manage to keep it very memorable. Very good. On the other side of the coin we get the uptempo and slammin’ “The Great Deception”, a song that brings on a busy rhythm, crunchy guitars and direct melodies. It’s in mid-tempo but also in-your-face and distinct with a good enough refrain. Good one.
A subdued and fine-tuned acoustic guitar piece, “Endless Green Fields” works as an intro the rough-edged following track, second single “Feelings Of Absinthe”, a stompy rhythmed straight ahead rocker with chunky, distinct riffings and hooky melodies all over the place. It’s an uptempo tune with a real hard throwback to Lillian Axe’s late 80’s/ early 90’s. Big vocals, catchy as hell pop-metal hooks and a chorus that brings on a big Arena Rock vibe that sticks right from first listen. Without a doubt one of the album’s strongest moments. Should be a hit, in my book. The spoken word (over a piano) piece “Finally, Clarity” serves as either the end of Act II or the beginning of Act III. My guess is on the latter.
“From The Mountaintops” starts out as a low-key, subtle piano-ballad with a musical-theatre touch, very dramatic but soon gets heavier and more powerful still on a slow-pace note. It’s quite big on orchestration which gives the song a bit of symphonic vibe. The refrain speeds the tempo up with a more gritty outlook before the song slows down once again. It’s a bombastic and cinematic number, a bit progressive with a splendid vocal-job from Graham. I like this a lot. Closer “Ascension” starts out slow and quite with a keyboard, acoustic guitars and some fine-tuned vocals like mixture of Lillian Axe, Ghost and Devin Townsend. The song takes a bigger approach in the very memorable chorus yet still on a dramatic atmosphere with melodies directly from older day Lillian Axe. It’s a grandiose song that alters between the held-back and down-beat and bigger, straight-forward approaches. A damn good tune and a perfect closing track.
While 16 tracks might seem a bit much to digest, four of them are interludes or intros which leaves us with 12 “real” songs which is a bit closer to “normal”. But it is an album that needs its listens. It’s also a concept album so it’s preferred as a back-to-back listen. Still, the songs works one by one too. It took a while for me to fully get into it but for patient minds there’s a reward when it do stick for real. It’s a killer record, see. Style-wise it goes into the same vein as their four latest albums but for lovers of the original band, there’s enough nods towards that age for satisfaction. Quality-wise there’s not one weak number among the songs here. The production however is a bit of an issue. It’s a bit vapid and at times mushy which gives it a bit of budget outlook. That said, it’s a long, long way from being unlistenable. Welcome back, guys and let’s not wait another ten years for another record.
8/10
More Lillian Axe reviews:
Deep Red Shadows
XI: The Day Before Tomorrow
Tracklist:
1. Breathe
2. I Am Beyond
3. Neverending Me (Dempsey’s Kick)
4. A
5. The Golden Dragon
6. Piercing The Veil
7. Migrating North
8. No Problem
9. Dance Of The Maggots
10. Fall Of The Human Condition
11. The Great Deception
12. Endless Green Fields
13. Feelings Of Absinthe
14. Finally, Clarity
15. From The Mountaintops
16. Ascension
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