KAINE
The Waystone
Self-released (2014)
Rating: 8/10
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I was fortunate enough to see these guys supporting San Francisco Bay Area thrashers Mordred on their UK tour in August 2014. Kaine is a British band which formed in 2009, and The Waystone is their sophomore effort, following on from 2012’s Falling Through Freedom debut.
The East Anglian band’s line-up for this latest release consists of Rage Sadler (vocals / rhythm guitar), Dan Mailer (vocals / bass), Anthony Murch (lead guitar) and Chris MacKinnon (drums).
Now, when you spin this nine-track platter it’s only fair to note the comparisons with Iron Maiden, especially in the bass rumble of Mailer who clearly has a touch of Steve Harris about his playing style. But then again, this is classically trained British metal that isn’t afraid to show its influences. However, Kaine is also a band not afraid to show versatility too, adding some nice progressive touches and thrash nuances to that steely sound.
The Waystone kicks off with the very Iron Maiden-styled ‘Iron Lady’. In fact, it’s Maiden down to a T with that gritty vocal surge and killer melody. Sadler rasps that, “The iron ladies grip will tear down the wall that separates mankind” accompanied by a kicking drum and above all that perfectly executed trickling bass of Mailer. It’s also worth noting, however, that in a sea of metal mediocrity where bands are eager to revive the 80s, Kaine remains one of the more refreshing and accomplished when it comes to bringing classic metal licks and fusing them with their own hardened harmonies.
The Waystone just does not buckle to predictability, and it’s all hands to the pump for the rollicking ‘The New Wave’ and my brace of favourites, ‘Resistance’ and ‘This Soul Exchange’. The latter is an eight-minute epic with a trickling introduction of sparse, whining guitar and then that placid drum plod before the band builds up the intensity levels into a slab of steady traditional rock.
‘Resistance’ is equally stirring; another slow burner of a track with a tinkling guitar and simmering cymbal before that metallic gallop. But with Sadler and Mailer both more than adequate in the vocal department it means that the band have a versatility and, above all, a variety in the tonal attack. Mailer provides a cleaner style; his smoother sneers enable the band to melt into a Helloween-meets-Fates Warning style majesty. With Sadler at the helm, meanwhile, that typically British storminess and oomph takes over.
There’s certainly nothing wrong with a record that for the most part is just so British in its approach, and with songs this strong and well-produced it’s only natural we are transported back to the halcyon days where the likes of Judas Priest and Saxon and were in their prime.
Although the songs could be deemed a tad overlong, for me this is an expression of confidence within the band to explore more technical passages, particularly with ‘Solidarity’ and the closing title track which is truly gargantuan, clocking in at over 12 minutes – but is pure gold if you’re a fan of Iron Maiden at its most self-indulgent and poetic.
Throughout the album the choruses are simply satisfying, and with an air of technicality marrying into those more modest, traditional segments this is the sort of opus that will no doubt appeal to the more hardened, stone-faced metallers the most, but given time Kaine may mature beyond the paying homage stages and sprout into one of British metal’s finest.
Neil Arnold
