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SABER TIGER
Eliminated

Walküre (2024)
Rating: 8/10

Somewhat of a legendary rock band in Japan, Saber Tiger first burst on to scene in the early 80s, but their debut full-length album, Invasion, didn’t emerge until 1992. The band was formed by guitarist Akihito Kinoshita but the rest of the line-up has been somewhat of a revolving door of members, and it’s worth noting that at some point even American singer Ron Keel (Steeler / Keel) was involved.

With Eliminated, Saber Tiger continues to produce powerhouse metal driven by the metallic fury of Kinoshita. As opener ‘斑の鳥’ (Spotted Bird) showcases, the band is legendary for its borderline thrash exploits which drift seamlessly into icy power metal brilliance. My only gripe is that the vocals of Takenori Shimoyama don’t always sit comfortably on the palette. In spite of being with the band from 1997 to 2002, and then from 2010 until now, his warbles lack conviction at times, especially when the combo goes into full throttle mode, but it’s only a minor quibble.

Even so, this is a heavy outing coated in a contemporary yet effective steel sheen as evidenced on the fabulous ‘Resist The Pressure’, which is my standout cut with its variation of tempo, the booming percussion from Yasuhiro Mizuno and the grandiose sprawling metropolis of instrumentation.

Everything on offer here sounds epic, occasionally dark, yet in contradiction quite poetic and subtle, but man these guys can thrash. ‘From The Past To Tomorrow’ is an absolute beast of a song, as is the ferocious ‘Strike Back’ which peaks with melodic strains. Shimoyama is still a potent vocalist and does thrive more in the faster paced environments, but what I also enjoy from the album are the more progressive streaks as exhibited on ‘鬼哭の亡霊’ (Crying Ghost) with its vibrant bass work from Hibiki and the abrasive jabs of the dissonant riffs.

This is very much a guitar focused album but one which brings dollops of heaviness throughout. Saber Tiger aren’t afraid of experimentation either as ‘孤独と霧の彼方’ (Beyond The Loneliness And Fog) shifts gears and moods by injecting jazzy jerks which entwine with beefy jugs. All of the songs are incredibly rewarding and each track maintains an air of unpredictability, but never is weight sacrificed in the name of intricacy or creativity. ‘Malicious World’ is another treat for the ears, throbbing with the tandem of bass and drum, as is ‘The Moonlight Shines’ with its tricky rhythms and pulverising riffs. Seventeen albums in and Saber Tiger is still a force of nature.

Neil Arnold

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