A SOUND OF THUNDER – It Was Metal (2018) | Album / EP Reviews @ Metal Forces Magazine

A SOUND OF THUNDER
It Was Metal

Self-released (2018)
Rating: 8.5/10

I like the duelling vocal attack on opening track ‘Phantom Flight’ from this rather fiery U.S. act that has been plying its trade since 2008, naming themselves after a Ray Bradbury tale and in that time releasing a handful of sturdy albums. It Was Metal marks A Sound Of Thunder’s seventh full-length release.

When I was first introduced to this act I was under the (false) impression that the sound would be a rather glossy, corny and formulaic Euro-styled Goth-cum-power metal plod, but I was wrong, and It Was Metal continues the impressive catalogue. Nina Osegueda remains at the forefront of this heavily armed clan; a quartet as stable as the foundations of a hefty warship and at times as ominous as the leering windows of an ancient castle.

For me, the combo drifts heavily towards a Teutonic bellowing. The music fans the flames of Hell and commands the high seas to grumble while storm clouds gather above, and we’re treated to a batch of high-octane numbers which would destroy any open air festival in one mighty swoop of its gloved hand.

With opener ‘Phantom Flight’, we get an appearance of TT Quick frontman Mark Tornillo, best known for his work with German heavyweights Accept. Tornillo brings even further slabs of oomph to what is an atmospheric and anthemic structure that goes straight for the throat with its sizzling axe work from Josh Schwartz and hammering skin work from Chris Haren. A catchy chorus rounds things off with a track that perfectly underlines the power and prowess which A Sound Of Thunder abides by, and from hereon in they serve us a delicious batch of songs, coated in hard steel and scorching to the touch.

‘Lifebringer’ gallops with Iron Maiden-cum-Judas Priest pace before a sudden doomy trudge takes over and the metal nation unites to pump its clenched fist before trudge is resumed. ‘Atlacatl’ showcases the bass and drum rattle, the devilish tandem in cohorts to create a monstrous wall of seemingly Eastern-influenced mysticism. The brief instrumental ‘The Crossroads Deal’, meanwhile, nods at Robert Johnson’s intriguing blue tale but coats it in a huge metallic paint; the marrying of the two seemingly separate styles makes for an intriguing listen as harmonica flicks between gargantuan riffs and eventual stormy haste.

The title track is a tad predictable but still engaging, a mammoth metal tune of surging guitars and lyrics which I probably could’ve written as a teenager. Nevertheless, it’s still sturdy in its structure with that bass stonily working its magic, and yet I could just imagine this rocker on a Manowar opus! It’s a minor quibble though, as the wistful strains of ‘Obsidian & Gold (Desdinova Returns)’ emerge, Nina’s subtle tones apparent as she mystically teases us prior to the organ sound from guest musician Tony Carey (ex-Rainbow) emerging from the shimmering and simmering mirror of metal magic. This is arguably the album’s most dramatic and epic statement; a slow-building monster that unravels as a pounding, sizzling expression of catchy hooks.

For me though, it is ‘Second Lives’ and ‘Els Segadors (The Reapers)’ which appeal the most; the former is a haunting, metallic rumble, while the latter keeps up the atmosphere opening with a militant, yet power metal vibe of Gothic orchestration before embarking on an epic trudge. It’s all good stuff, heavily steeped in sword ‘n’ sorcery styled dramatics as ‘Tomyris’ fizzes with energy, ‘Charles II’ scorches as more than just a dull history lesson, and ‘Fortress Of The Future Race’ rounds things off as a sci-fi daubed hammer to the skull. The pace of the latter brings together masterful lead melodies and a crunching bass before Nina drags us further into the furnace of rock ‘n’ roll.

A Sound Of Thunder once again plies us with an intense experience, devilishly treating us to enough theatrics and grandiose themes to last a life time. When the curtain drops though, it’s still gonna take one hell of a fire extinguisher to control the flames left by this powerhouse of a modern metal composition. Yep, that was metal.

Neil Arnold

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