Blackstorm: Twist Of Fate
Tracklist:
Twist
of fate demo (1989)
- Twist of fate
- Thieves of the night
- The confrontation
- Merciless peril
- Edgerunner
- Bad winds rising
Tales from the wishing well
demo (1990)
- Visions
- Vertigo
- Ship of fools
- House of dreams
- Test of time
The lands of yesterday demo
(1992)
- Faith or fear
- The lands of yesterday
- Peace of mind
- Ashes to ashes
- Escape
The well of bands that released
a lone vinyl EP/longplayer, a few demos or a cassette album in the
80s/90s, only to sink without a trace immediately after, is nowhere near
running dry. As a result one cannot, in hindsight, fail to notice the
amount of talent nipped in the bud for some reason or other. ‘What
happened?’ you ask. Life and the industry, that’s what happened.
Reissue specialists Arkeyn Steel
in Thessaloniki, Greece have, just like their formidable US-counterpart
Stormspell Records (RapidFire, Enforcer, Nitefall, Held Under, Target
and many others), set themselves the task of rescuing those long lost
gems from their undeserved doom of oblivion. One of the interesting
recent AS-releases is Twist of fate, a 16-track compilation by
US-metalband Blackstorm. It features hard-to-find demo material in
remastered form and comes in a limited and handnumbered jewelcase
edition of a 1000 copies. Although the booklet layout of almost every
Arkeyn Steel-release would best be described as acquired taste, this one
is somewhat of an improvement in that respect. It also sports rather
fetching cover art based on a sketch by Kent Mathieu. Some of you may
remember him as the man responsible for the album covers of Heathen’s
Breaking the silence, Artillery’s By inheritance and
Forbidden’s Forbidden evil, among others.
Blackstorm were formed in 1986
by drummer Greg Sablan and singer William Santos, who had grown up
together on the island of Guam in the western Pacific Ocean. The
five-piece band – after some back and forth to Guam – was based in the
San Francisco Bay Area and recorded three demos, all of which have made
it to the disc. Taking its title from the band’s first 6-track
recording, Twist of fate serves up pure US-metal defined by
guitar, bass and drum work that manage to be both technical and
powerful. In short: rock ‘n’ roll sweat meets thinking man’s finesse.
If there’s one thing that
transpires time and again whilst listening to US-metal from the period
right before and during Grunge Hell, it’s the fact that the quality
level often was nothing less than amazing. Putting aside, for a moment,
the usual budget issues marring many a demo recording of the time, you
cannot help but be impressed by the inventiveness in songwriting and the
virtuosity in musicianship. The significant difference with today’s
so-called progressive metal, however, being that technical prowess and
complex structures never stood in the way of the song. In
addition to that, there’s the near-absence of cheap-sounding keyboards/synths
to cover up songwriting deficiencies or water down the metal component
to wishy-washy pseudo-progrock with heavier guitars. Compositions often
have a technical edge, but they are constructed from sound riffs, melody
and hooklines hewn out of pure rock ‘n’ roll marble.
Blackstorm, delivering their own
brand of guitar-based, strong US-power metal, were no exception. Exhibit
A: opener ‘Twist of fate’, a first-rate crusher with intricate, Oliver
Magnum-like rhythm guitars à la ‘Sister Cybele’/‘Old world nites’. Just
listen how those song elements fit seemlessly together, with one
instrument driving along the other and the musicians managing to niftly
vary riffs and fills when called for. Vocals have character, soloing is
nothing short of A+. This is real songmanship from talented musicians
aspiring to compose more than just run-of-the-mill rockers to boost a
beer-soaked weekend.
Throughout their limited years
of existence, Blackstorm failed to attract interest from labels, this in
no small part being due to the advent of Prozac whiner crap from
Seattle. Sadly, the islanders from Guam and their fellow soldiers
arrived just that decisive tad too late on the scene. The music
industry, once again struck by that ugly mutant virus of deafness,
blatant opportunism and complete ignorance, managed to sign the worst
and ditch the best. You really wonder what went on in those airy A&R
heads at the time - if there was ever anything going on in them at all.
‘Scuse me for digressing.
If Blackstorm had been offered a
record contract, tracks like the furious ‘Edgerunner’ and its evil twin
‘The confrontation’ would’ve had headbangers smiling from ear to ear.
Yes, in the Dark Ages of grunge, our beloved metal underground, facing
semi-implosion and mass desertion, would certainly have found some
comfort in a Blackstorm vinyl album. ‘Are you still with me?’ asks
William Santos halfway through ‘The confrontation’. A rethorical
question surely. Now mind you, Santos’ vocals scream testosterone, but
the good man could’ve done with some coaching. At times, the
discrepancies in his performance are outright puzzling, ranging from the
excellent (‘Twist of fate’, ‘Edgerunner’) to the painfully underachieved
(‘Test of time’, parts of ‘Bad winds rising’, ‘House of dreams’).
To be fair, you also get the
feeling that more than once there simply wasn’t enough time to do things
as envisioned. For instance, the chorus in the otherwise searing
shredder ‘Test of time’ misses the mark by at least a mile. Was it just
the lack of a finishing touch in the writing of the vocal lines, was the
recording itself a rush job or Santos unprepared at that particular
moment in the studio? Whatever the reason(s), it also handicaps a few of
the other songs. Suffering from lacklustre melodies and riffs, the
plodding ‘House of dreams’ just doesn’t do the rest of the material
justice. The song, along with the intense ‘Bad winds rising’ and the
‘press skip please’ midtempo filler ‘Merciless peril’, are among the
group’s first efforts. They were co-written by original guitar player
Frank Emmi who, in 1987, left for Florida before the first demo was
recorded. A fortunate thing to happen to Blackstorm, probably.
All three demos were recorded
with different engineers and producers. The little set of tracks 7/8/9
was – with all good intentions no doubt - produced by Vicious Rumors’
own Geoff Thorpe. Audio quality of the Tales from the wishing well
demo, by the way, is not on par with the rest of the songs on the disc,
but any dedicated US-metal fan will be able to listen beyond that.
Curiously enough, one of the songs from this session shares its title
‘Ship of fools’ with the classic VR-anthem starring the late Carl Albert
on vocals. As with the other material, the guitar solos on this
particular track are outstanding.
How would Blackstorm sound,
then, with a different singer and production? The last five cuts, from
the 1992 demo The lands of yesterday, kindly provide us with the
answer: like a different entity altogether. This is neither the first
nor the last band that, after personnel changes – Blackstorm had by then
shrunk to a four-piece with singer David Locken new to the ranks –
suddenly took a u-turn in various departments. Locken technically may be
a superior vocalist to Santos, but he’s considerably lighter on the
steel as well. With the material itself veering toward melodic metal of
the Lillian Axe/Racer X/early Dokken variety and guitar parts leaning
toward the Stevie Blaze/Paul Gilbert/George Lynch end of the spectrum,
Blackstorm had definitely morphed into something else. Not into a lesser
version of itself, just a different and more versatile one. The
high-energy pieces ‘Faith or fear’ and ‘Peace of mind’ could very well
be lost tracks from Arch Rival’s little-known In the face of danger
album. By way of contrast, ‘The lands of yesterday’ sounds like a Mr.
Big singalong tune from one of MTV’s Unplugged shows. Production
and mix on this set, however sounding strangely unfinished, are more
dynamic and open, with a clear emphasis on bringing out the individual
colour of the instruments.
On the whole, it is the first
demo by the Blackstorm incarnation with William Santos - who may not be
top drawer material, but whose presentation oozes rock ‘n’ roll - that
will find favour with US-metal fanatics and collectors. Despite the
flaws on these recordings, the class of the musicians always shines
through. Twist of fate is one of those releases that just hold
your attention because of the sheer energy and thrilling guitar work.
David Matela and Robert Kolowitz – the latter also lending his chops to
powerhouse outfits Hellhound and RapidFire - have talent in spades.
Their crunchy rhythm guitar parts, leads and solos shine with verve and
artistry, easily surpassing the depressingly bland stuff heard on 95 per
cent of all metal releases today. As original bassist Marko Parker and
drummer Greg Sablan, too, have a penchant for going beyond the mundane
and combining driving rhythms with exciting details, Blackstorm’s modest
legacy certainly is one to discover and enjoy. This music just feels so
bloody alive.
One wonders what this band was
like on stage – and how the best songs on this Arkeyn Steel compilation
would sound if they were partly re-arranged and properly re-recorded. An
ambitious track like ‘Vertigo’, now lamentably dressed in gardening
clothes, certainly merits a dinner jacket. In his one-page band history
in the CD-booklet, co-founder Sablan speaks of a rekindling of
friendships as far back as 1999, hinting at a possible Blackstorm
reunion for gigs in our not-so-new-anymore millennium. If anything, life
teaches you three words: you never know.
Twist
of fate by Blackstorm can be obtained
through various underground mail orders, Helmut Mueller’s Underground
Power in Germany being one of them.
www.myspace.com/undergroundpower
At
http://www.myspace.com/arkeynsteel the track ‘Twist of fate’ is
available online.
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