Metal maniacs, rejoice! I am proud to present to you: PHASSLAYNE; signed via Cult Metal Classics/Sonic Age Records, hailing from England - performing New Wave Of British Heavy Metal, on their debut album entitled: "Cut It Up" (re-released January 7th, 2020).

Since formation in 1982; the trio in question have 2 Demos entitled: "Important Record Gosforth" (released March 27th, 1983), and "Desert Sound Demo" (released on June 25th 1984). Along with an EP entitled: "Neat Records Live No Dubs" (released January 5th, 1985), and this here debut album entitled: "Cut It Up". 21 tracks ranging at around 01:16:48, PHASSLAYNE arranges an intricately designed formula on some heavy-hitting New Wave Of British Heavy Metal Developments.

First given life from Neat Records, and then Roadrunner Records gave it a 2nd chance way back in the original release from 1985; Sonic Age Records resurrect yet another lost gem full of new surprises within this forgotten group, disbanded now, yet that doesn't dismiss engaging on a slice of rock 'n' roll history. A compilation spanning of 2 discs featuring the main presentation, demos and a new lease on life... PHASSLAYNE & Sonic Age Records present this re-release for the next generation of fans of this sub-genre, as well as those who missed out first time around in case they want to add it to their everlasting collection – full of oomph & rocking ruse ahead awaits you...

Opening up with the blistering barrage fury: "Think It Over"; this stampeding frenzy in boisterously bouncy rumbles reverberate with thunderous NWOFBHM jumpiness, punchy slams and bulldozing drums hammer with rompy rampancy. While guitars fret with ripping technicalities, revelling with shrieking hooks and steamrolling progression. Soaring high, loud and proud with tempestuous yet wildly rushing sharpness. "Picture Me" surges with more tight shreds, striking with sonically seamless pursuits on relentless laceration mobilities that trailblazes with riveting calamities as chugging blitzkrieg gallops & chops with profusely robust ramifications. Triggering maelstrom virtuosity quintessentially quakes with weighty tightness, utilizing uniquely vehement solidities that rattle with sulfurous melodies with distorted fluidity.

Consisting of Michael Maughan on vocals/guitars, the frontman excels at an amplified adrenaline in concretely gritty fabrications in intensely harmonic crunchiness, elementing a catchy flamboyance in firepower finesse. Creating a chunky foundation in a borderline but hardened flair in chunky substance with rapidly swift nimbleness that skyrockets with technical rips & vibrantly quirky stabilities that showcases this snappy rift on sturdy heft immersed with these screaming yet high-pitched pipes that yell with rawly rough authority. "Don't Walk Away" gravitates a clobbering perseverance that resonates with radically tenacious tempos which rhythmically rich outbursts with salubriously volatile grooves, experimenting a hybrid grind in distinctively distinguished but creative & dexterously crafty agility.

"Run For Guns" chisels into a hasty thud of choppy drum hammering aesthetics from Andrew Stidolph, executing a rambunctiously pile driving drill in stability which quakes with stampeding smacks that stock with rollicking gallops; in turn zestful frolicks also storm this thrilling pursuit on momentous yet primitive manifestations that persist with organic riffs & stompy precision. "Down And Out" utilises versatile yet profusely robust synergies that distil an old school wave of what could be IRON MAIDEN, but rather more speedy and expeditiously less psychedelic than the Paul Di'Anno era of MAIDEN. Still mellow however, implementing jazzy patterns with the shrieking snares of guitars & exhilarating exuberance PHASSLAYNE provide. "Minute Man" is a fuelling, high-octane bombardment in intense heat. Meticulous yet monolithic tempos rampage with wicked mobilities, thumping with motoring but fuzzy contortion along the way. Within its chorus component, a singsong simplicity with fun backup cords gives feel good energy - aligning an elemental immersitivity in frantic density, into a complexly constructive zest merged with this grizzly euphony that juxtaposes outrè panache & silver lining tonality.

"Get It Right" embellishes in hooks of traditional fretwork expertise, forging constructive embodiments of flexible fundamentals in funky characteristics; arming a brimming dose in outbursting vibrato patterns that flow into a slick representation of pulsating hymns in impactful but shouty songwriting musicianship that marvels with remedious sass. "Feels On Wheels" storms with more rocking momentum, with this very speedy spectrum that revels with thrashing maelstrom significance until this very bluesy cover of ELVIS PRESLEY's "King Carole" begins with this resounding vocal rendition of the late and great party maniac in rock 'n' roll fashion. Culminated with PHASSLAYNE's original vibe with èclatful intrigue, while Paul Gago on the audible bass flickers his instrument with venomous yet sheer zeal. While "Who's Losing Now" starts off with this towering strife, where zappy riffage electrifies eardrums with velocity & potent precision in gripping gravitation...finishing off the first disc with motivating yet mesmerising enthralment.

Included in this double disc extravaganza are 11 gnarly demos entitled the "Desert Sand Demos" in which oscillate with the first disc's feature from "Don't Walk Away" (which diversifies instrumentally with this saxophone variety which sounds very pleasant), "Minute Man", "Picture Me" & "Think It Over" are also alternate performances that typically sound more pummelling while linear, they still relish with this smashing sound production that trembles with volatile yet outlandishly upbeat throttles that will keep you transfixed with these rocking machinations of inciteful brilliance, mightily. "Can't You See" starts off with this diligent edge in a euphonious twist on melodic captivation, lots of dynamic diversity is symbiotically unbound here...especially from the systematic synthesis of the party pleaser "Took Her Dancin" – where the next 2 "To Rule The World" & "Mercenary Killers" slay with monstrously meaty transparencies.

The overall dancer "Cruzin" concludes the original songs with frenetic but idiocentric beefiness, while retaining that precipitous but breakneck expedition in expeditious ambition, leveled with this prodigiously prestigious boundary in a crescendo of arbitrary but dashing enthusiasm. You might think at first glance that the name PHASSLAYNE will be easily forgotten about but in a true sense, not exactly. Because if a band with such a generic name such as KISS can succeed, the aforementioned indefinitely can if they tried hard enough. This verve of vigorous vitality rewards the listener with fun, bumpy and fast paced tunes that slashes speakers with strong proficiency. I will say this, old school Paul Di'Anno IRON MAIDEN fans will surely experience an enjoyably entertaining discovery here at least.

Bottom line; I am compelled to say that PHASSLAYNE certainly outdone themselves with "Cut It Up" (for its time), worthy of a spin or 2.