Lord Weird Slough Feg, The - Down Among the Deadmen (2000)^{Release ID: 2238}

In our quest to be able to pigeon-hole everything in our listening habits we occasionally come across a band whose sound is so very clearly rooted in a particular genre, but it touches more than one influence outside of that niche that you question what you are listening to. Down Among the Deadmen is one such album. The majority of what you hear is straight up heavy/traditional metal. Stacked full of racing riffs and galloping rhythms, it is an album that draws extensively from NWOBHM as well as being comparable to the likes of Cirith Ungol, Manilla Road and Brocas Helm. There are even hard rock elements of Thin Lizzy around in here.

At the same time, you get an undeniable sense of Skyclad-like folk metal traversing tracks as the band continue to tell their tales of Celtic legend that they are so infamous for. But it is not just the elements of different styles that make their third full-length so endearing, in here as well is an almost abandonment of traditional song structure and form. That having been said it is still coherent to the point of being memorable. The stop/start riffing of Walls of Shame at first catches you off-guard, but you soon come to realise that is quite a simple structure that is unique more for its paired-back nature. On tracks like this you hear the Cirith Ungol/Manilla Road influence clearly, but at the same time you also get to hear how tight the band are as a result of this no-nonsense approach to the tracks.

It is impossible not to be caught up in the flowing delivery of the album as it uses a clever combination of storytelling and urgent yet concise song writing to draw you in. At times they seem to charge riffs or hold the revs on the engine of them for the effect of teasing and taunting the listener with the power that is inevitably about to be unleashed. As I move from track to track, I find myself anticipating the tempos and pace of the record with avid glee. Yet Down Among the Deadmen is not a predictable listen by any means. Leads and solos spark off from more rhythmical passages often unexpectedly, enriching the tales being told with lush six string sounds to emphasise points of conflict, majesty, atmosphere or emotion.

Mike Scalzi’s vocals do not occupy the same challenging area as a Mark Shelton or Tim Baker. There’s a theatrical slant to his pronunciation most definitely and it this that keeps things interesting and focused as at its heart this an album with a tale to tell and as such Scalzi fulfils his role perfectly. Tracks conjure wild imagery as they progress, and the superb musicianship adds to this sense of being able to create scenes in your brain and give them a soundtrack at the same time. You really do get a whole band experience here with everything clear in the mix and able to make a notable contribution, therefore.

Gregg Haa’s drumming is measured and yet in the same breath so especially important to the overall success of Down Among the Deadmen due to its power and persistence. I cannot find one track where he is not absolutely on point in delivering a robust and consistent performance yet at the same time still is able to let everything else around him breath easily. The twin guitars of Scalzi and Cobbett synchronise superbly throughout to again emphasise the feeling of cohesion within the recording process.

I do still find it an album that feels a tad too long at thirteen tracks. It is only 50 minutes long, but it feels longer and sometimes I do find myself all nerded out with the constant fantastical tales being told. That having been said, it is not an album that always takes itself so seriously. The marching section at the end of Troll Pack for example feels a little tongue in cheek without pushing the boundaries of being contrived. The album still is an absolute pleasure to listen to end to end and is probably Slough Feg’s finest hour to date. If you like your heavy metal traditional and played by skilful and deft musicians, then you’ll love this to death.