Visigoth – Conqueror’s Oath
Metal Blade Records
Release Date: 09/02/2018
Review by Dawn “The Metal Priestess” King
As many of you who have read my previous reviews will know, there are two genres of metal that I am particularly fond of. One is thrash, and the other is power metal, and Visigoth fall into the second of the two.
Now, being a power metal fan, I personally believe there are two distinct types of power metal, the first being the Hammerfall / Blind Guardian / Iron Saviour-esque metal that the Europeans and Scandinavians are so good at producing. The second could only be described as the cheesier type of power metal, you know, the kind that Manowar make…. hail to the king and all that?!
Well, Visigoth fall somewhere in between the two!
Formed in Salt Lake City, Utah in January 2010, they released their debut album “The Revenant King” in 2015 and earned themselves an underground following worldwide with their impassioned and electric live shows, performing at the highly esteemed Keep It True, Frost and Fire and Pounding Metal festivals, sharing the stage with Metal Blade legacy acts and inspirations Cirith Ungol and Omen.
In the words of their own press release, they have dedicated themselves to “worshipping at the ageless altars of heavy metal with a singular focus on writing music inspired by their favourite records,” and because of this, they wear their influences proudly on their sleeves.
Music to me is all about making the listener feel something and if an album can make you envisage a scene or storyline in your head, just like reading a book can, then the music makers have done their job.
This album is a typical “steel and glory” offering, the kind that conjures up images of hammers, axes and swords, of burnt and pillaged towns and of screaming and crying women and children, with heroic themes of conquest and adventure.
The booming baritone of vocalist Jake Rogers is the driving force of the band and, alongside the consistent drums and duelling guitars, with their savoury harmonies and meaty riffs, brings a larger than life energy to the songs.
This is an album of “8 iron-forged anthems of pure metal magick, guaranteed to satiate the hunger of the rock ‘n’ roll hordes.”
It was recorded at the Boar’s Nest with engineer extraordinaire Andy Patterson (Subrosa, Deathblow, Dreadnought) and mixed by Dave Otero of Flatline Audio (Satan’s Host, Nightbringer, Khemmis) The breath-taking cover artwork was designed by underground album art legend Kris Verwimp, whose work has also graced the covers of records by Absu, Bewitched, Desaster, Horna, Moonsorrow, Skullview, Arkona and many more.
This is a good, old-fashioned album full of solid heavy metal, from the slow and triumphant anthems such as Steel and Silver, the faster paced tracks like Warrior Queen. The band sound like they were formed decades ago, despite being a newish band, and although this album brings nothing new to the table, if you want to stick an album on and reminisce about the simpler times of heavy metal, then this is the album for you.
It is a juggernaut of pure American true metal done right. The only thing that really lets this album down is the track “Salt City.” Not because it is a bad song, I actually quite like it, but it doesn’t seem to fit in with things and it distracts you from the unstoppable march that has been the rest of the album.
This doesn’t, however, mean that you shouldn’t give this album a listen, because, if you are a power metal fan of any sort, you definitely should.
A mix of Manowar and Hammerfall with a hint of NWOBHM and traditional heavy metal can’t be all that bad now can it?
01. Steel and Silver
02. Warrior Queen
03. Outlive Them All
05. Traitor’s Gate
06. Salt City
07. Blades in The Night
08. The Conqueror’s Oath
Disclaimer: This review is solely the property of Dawn “The Metal Priestess” King and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.