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BLACKSLASH
Heroes, Saints & Fools

Iron Shield / Fucking Kill (2025)
Rating: 7/10

These German dudes have been loitering about since 2007, so if you missed them then you’ve got some catching up to do. Heroes, Saints & Fools is the fifth full-length instalment from the combo and it’s indicative of today’s heavy metal scene. I say this because Blackslash are undeniably consistent but swamped somewhat in a genre of 80s throwbacks.

Just two years short of being in the business for two decades, Backslash, so you would think, should be better placed in the leagues of the genre, but, while stable, they are proof of how difficult it is to progress to any sort of recognition. Even so, Heroes, Saints & Fools, like previous efforts, is a strong metal opus for fans of Judas Priest and the New Wave Of British Heavy Metal era, particularly early Iron Maiden.

Throughout this platter the tone is high and crisp as the lads deliver catchy, melodic galloping tune after tune. There are however pros and cons to such compositions. Some of the tracks – particularly ‘The Watcher’ – are brisk, airy and nostalgic, while other songs boast a steely menace, for example ‘Black Widow’, but such vibes may prove all too familiar, derivative and uneventful for some.

Blackslash is clearly one of those acts keen to pay homage to the 80s so their intentions are clear, but with so many bands of this ilk cluttering the genre when does it reach saturation? I’m not trying to make an example out of Backslash, but simply identifying an issue. Having said though the band is keeping the heavy metal flag flying and I do believe a lot of listeners will overlook the negatives and happily join the quintet in their quest.

Backslash do it better than most, prime examples being ‘Sacrificed’ with its streetwise, almost Mötley Crüe-ish sneer, and ‘Die By The Blade’ which has a power metal oomph, particularly in the hard drums and rich vocals. There’s a lot here to warm to. The opening canter of the title track is somewhat formulaic yet enchanting, and the same could be said for ‘東京 (Tokyo)’, while ‘Where Are We Heading To?’ is so accomplished in its axe work that it wouldn’t seem out of place on some late 80s shred album.

Backslash do leave the best cut for last though, the darker, more brooding aesthetics of ‘Maniacs And Madmen’, a fiery slab of varying tempos and nostalgic glows. A fine way to cap off what is essentially a standard but ebullient outing by a band which deserves more attention than it has received over such a long period.

Neil Arnold

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