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GUNFIRE
Age Of Supremacy

Jolly Roger (2014)
Rating: 7.5/10

Here’s another rollicking heavy metal act very much back from the grave. Italy’s Gunfire first began their quest for the metal throne back in the early 80s, but only got round to issuing a demo and a self-titled EP in 1984 before disbanding in 1986. In 2002 the band returned with a demo entitled The Fire Still Burns, which was then followed by 2004’s Thunder Of War debut.

However, the band went quiet for a whole decade, but now they are back with their sophomore platter Age Of Supremacy; a ten-track album offering up a decent slice of power metal channelled through the vocal strains of Roberto “Drake” Borrelli, the twin guitar attack of Luca Calò and Marcello Lammoglia, plus the bass tremors of Michele Mengoni and the percussive expressions of Marco Bianchella.

Now, I don’t know if it’s just the production, but there are times throughout this opus when Gunfire seem to lack that extra oomph. The vocals can appear a touch strained and the instrumentation slightly subdued, but it still doesn’t stop this composition from being a rewarding experience which showcases the band’s talent for writing catchy songs and incorporating some truly surprising melodies. This is apparent on tracks such as opener ‘War Extreme’, which adds some nice female vocal yells and melodic hooks. It’s also worth mentioning that throughout the album, the leads are excellent and yet the only real time when the band fully ignites. There is such a sense of maturity and knowing through this album though, that with a good producer I feel these guys could be a real force on the European music scene.

Although Borrelli may be the only original member, those around him effortlessly construct a classy mid-tempo orgy of metallic power that hints at progressive heavies such as Queensrÿche with those unusual effects and dramatic mid-tempo segments. For some reason, I’m also reminded of King Diamond with some of the structures, Gunfire bordering on thrashy twists and Gothic drama with the likes of the splendid ‘Man And Machine’. There’s even a doomier tinge to their subtle practices, evident with the aching glory of ‘The Hammer Of God’ and the chugging darkness of ‘The Wizard’.

This is a surprising gem of a record that for the most part is incredibly catchy, but just lacking that extra gear needed. For a nostalgic trip into metal’s finest hours though, I’d suggest you hunt down this modest opus and shower them with the respect they deserve.

Neil Arnold

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