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Vultures Vengeance: Where The Time Dwelt In

Are they being authentic or ironic? Either Vultures Vengeance love NWOBHM enough to want to have been born in that time, or they love NWOBHM enough to want to parody it. I reckon it's the former, but I can't be 100% sure.

These lads from Italy have hair on their chest and you're gonna see it – whether you want to or not. Add in headbands, shades, leather wrist attire and shirts that seem not to have buttons and all you need is for the photographs in the CD booklet to be over exposed and slightly fuzzy and this could (other than the fact it's a CD and not a flexi-disc) be from the late 70s or early 80s. Oh, all the band shots are over exposed and fuzzy??? When was this released?

The answer is actually 2016, but if you'd have told me it was 1986, I'd have wondered if it wasn't earlier. The lads of the double V also have silly names, K. Khel, Nail, Matt Savage and Tony T. Steele, and a production budget that jingles in your pockets if you jump up and down – honestly, the sound is terrible. Imagine holding a transistor radio under pillow and turning the volume to 2 and that's what this debut EP, Where The Time Dwelt In (the answer to which is clearly, not in the studio) sounds like.

Steele's vocals are impassioned and threatening, they're also as likely to hit the right note as they are to miss by such a distance he might be singing the next song… or the next… If you're brave, sample his closing outburst on "On A Prisoner's Tale"… Add in that only the CD intro, "End Of The Void", comes in at under 5 minutes and this band also know how to take an idea and stretch it and then stretch it some more.

So this is crap, right? Well, oddly, no it's not. In fact it's far from it. The guitar pairing of Nail and Steele (honestly, I'm not making this stuff up), ripping out a plethora of riffs that would be mighty if the production wasn't paper thin. Somehow Steele's harem scarem vocal attack fits its surrounds really well (even if it's true that if you were to remove the music and just listen to him, you may end up traumatised). The four full songs all possess enough vigour and vim to have you cranking the volume up and then up some more (honestly, this is so quiet I reckon they simply recorded it in the building next door to a studio) so you can drill down into a band that clearly know what their aiming for and getting pretty damn near to obliterating the target. If you can hear them, "A Curse From Obsidian Realm" and "And The Wind Screams His Name" kick some serious NWOBHM arse.

Somebody give these guys a shot in a real studio, with an actual producer and some microphones that have an on switch. They might just be awesome, or they might simply get found out. As it is, if the era of music these guys are trying to pay homage to (or have a giggle at) is your bag, you really should hear it. The score below? I'll settle on a safe 3.5, but it could honestly range a full star either way depending on how charitable, or churlish you are…


Track Listing
1. End Of The Void (Intro)
2. A Curse From Obsidian Realm
3. And The Wind Still Screams His Name
4. On A Prisoner's Tale
5. Where The Time Stands Still

Added: March 10th 2017
Reviewer: Steven Reid
Score:
Related Link: Vultures Vengeance on bandcamp
Hits: 242
Language: english

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