The burning heart of the 80s inspired Metalhead, the rushing flames when playing classic driven […]
August 26, 2013
Taberah - Necromancer album cover

The burning heart of the 80s inspired Metalhead, the rushing flames when playing classic driven riffs on the guitars, heeding the call of the past waiting to be revamped again and again. Can't really imagine that there is a religious sort of connection to the chosen name, else one of these guys is Jewish, TABERAH is the sweltering fire, and not the fires of Hell but the fire of the almighty God above once signalling his wrath. These young Tasmanian lads surely have rage but of a different origin. They ache, bleed and suffer for the old testament of Metal, the golden years, the monumental 80s. Emerging with their second round of bullets in their belts, a new album entitled "Necromancer", via Dust On The Tracks Records, the Aussies carrying on the sinuous rain of 00s ongoing 80s inspired Heavy Metal bands quite comparable to HOLY GRAIL, VOLTURE, ELM STREET, WARDRUM, DRAGONCLAW, SKELATOR and DESERT SIN. Through the corridors of "Necromancer", Heavy Metal received one hell of a bang, a show of talent and respect for the genre's tradition and an example of true devotion with sticking to the basics.

All throughout the tracklist, "Necromancer" appeared to be covering everything within the range of classic Metal, and not just the traditional Metal but also salvo shooting around shrapnels of proto Power, Speed and Thrash inducements. Without any particular focus, yet abiding by the riffs rather than the actual song oriented essence, TABERAH demonstrated a fair level of song noteworthiness and memorability, well played diverse riffing clinging to tribute the old days, melodic fretwork perception, solos driven by Hard Rock and classic Metal shredding and quite a selection of impressive nasty drum rolls and punching rhythms. On the other hand, Jonathon Barwick's vocals up until this very moment, are still a matter of enigma. In comparison to the most vocalists of traditional Metal, he barely has a range. On several occasions, his voice pattern shares similarities with the hybrid of Hetfield and Mustaine, but with a clearer singing even with being rough when needed. Though Barwick's voice lacks that oh so crucial excitement and burning energy, the choral vocal production abetted by adding the right amount of depth to his singing, especially on the choruses.

Handled by quite a production and engineering crew consisting of Theo B, Joe Haley and Stu Marshall (known from his sonic endeavors with EMPIRES OF EDEN / DUNGEON / PAINDIVISION), I expected something better in terms of sound on "Nercromancer". Although with keeping just the exact extent of dirt layers on the sound, Haley's mixing didn't seem to fit the band's direction especially with the fading vocals and the drum set unclear on several spots. Nonetheless, it was way more than just to be considered as listenable. The overall sound barked and puked 80s as it should with releases of the same kind.

"2012", was purposed to be the first incision through the skin, signaling the beginning of the end, the world's supposed demise through the Nostradamus prophecy, and without a doubt it served its undertaking being one of the champion of opening tracks. Cracking with tremendous riffing, dishing a mixture of crushing upbeat Heavy and early Power Metal, gesturing IRON MAIDEN, HELLOWEEN, IRON SAVIOR and WIZARD with LABYRINTHian guitar harmonies, the end seemed ever so sweet and enchanting, especially the chorus and pre chorus blasting their way into recognition. The straightforward "Dying Wish" revealed neat Thrash and Speed Metal veins, crossing early METALLICA, MORTAL SIN and MEGADETH, yet with an old US Power Metal conviction on the chorus. Possibly the heaviest track around, bursting forward right from the get go with palm muted guitars and well sung vocals, suitable for the occasion. "For King and Country" and "Warlord" are mere anthems of traditional Metal, highly memorable, diverting with a tad of Speed elements, decimating with harmonic and melodic perspectives, another proof of Barwick vocal upgrade following the choir production implementation. The balladry of "Don't Say You'll Love Me", as on most of the traditional albums, appeared somewhat cheesy at first, but eventually conquered the heart of stone (or Metal). Not delivered as the emotive power ballads of the past, hitherto, TABERAH made it colourful enough to satisfy any fan of the older tunes. Finally, there is the bonus edition with the cover for DEEP PURPLE of the classic "Burn". On a simpler note, not the best possible choice for a cover, the music seemed fine, not enough keyboards' play even with the harmonic playing on the C part, and of course, one can't produce a version of this song without a ranged vocalist at the helm.

Still young and with tons of positive energies, TABERAH paid quite a tribute to the 80s. Storming with menace, but with style, "Necromancer" made it out to become one of the foremost contemporary revamped old school enactments to date. Enough was said that there are additional Rock / Metal acts other than AC/DC and MORTAL SIN.

9 / 10

Almost Perfect

"Necromancer" Track-listing:

1. 2012
2. Dying Wish
3. Burning in the Moonlight
4. Necromancer
5. Warlord
6. Don't Say You'll Love Me
7. For King and Country
8. One Goon Bag Later
9. The Hammer of Hades
10. My Dear Lord
11. Burn (Deep Purple Cover)

Taberah Lineup:

Jonathon Barwick - Guitar / Vocals
Myles 'Flash' Flood - Guitar
Tom "Bam Bam" Brockman - Drums
Dave 'The Doctor' Walsh - Bass

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