TARA LYNCH has her war machine driving at full throttle, the sound of her screeching  guitar is as distinct as her blonde and red locks of hair.  Indeed, there is a phrase-"always be weary of redheads as they are firey creatures", Tara Lynch is no exception.  Her debut album -"Evil Enough", originally self-released, has now found a greater distribution through Cargo Records, and the flames on the fretboard will now receive a wider audience.

"Evil Enough" is a semi-autobiographical album of depth, augmented by some of the finest melodic-metal on display.  In some ways Tara Lynch has created a project of artists to contribute, some of the finest gun-slingers on the scene, including  Vinny Appice (Black Sabbath, Dio), Tony MacAlpine (Planet X), Phil Soussan (Ozzy Osbourne, Billy Idol), Mark Boals (Dokken, Yngwie Malmsteen), Brent Woods (Vince Neil, Sebastian Bach), Glen Sobel (Alice Cooper) and Björn Englen (Dio Disciples, Yngwie Malmsteen).  With all this talent to galvanize the sound Lynch projects from the guitar, "Evil Enough" transcends the usual album status, the aforementioned talent does not take center stage or steal the limelight for one inch of the long-player.

"Evil Enough" opens with the title-track, some demonic laughing as the guitar cranks and the album opens up fully.  The vocals of Mark Boals gives the track that extra snarling intensity while Lynch makes scorch marks on the fretboard.  Some throbbing bass opens the lead single "Antidote", there is something extraordinarily addictive about Lynch's style, her playing is relentless filling out all the spaces with extreme electricity.  Here she takes lead vocals, unexpectedly great, most axe grinders do not have the pipes to match the fingered acrobatics but it is emotionally delivered.  Think Doro Pesch meets Cherrie Currie, soaring but venomous in the same breath.

"Exit The Warrior" is one of the stand out tracks, ultimately catchy and grooves with a deliciously intense riff.  This four-minute instrumental is jammed with feeling and impressive solos, it lifts and falls as an ambient growl provides the drama.  "Kringeworthy" is more reflective, opening with some sweet clean picking before igniting as the band take off.  Again Lynch provides the vocals, tinged with hopeful themes dragged from the depths of broken love. A sing along chorus, a breather in the atomic destruction that is "Evil Enough".

The triple-set song cycle of "Unbreakable", "Enigmatic" and "Trustless" rocks hard, forcing  those who are amateur players to bin their axe, although the extra slice of Boals makes "Trustless" a mini-symphonic drama of lick-lashed landscapes.

Trying to find a flaw is a true-needle in the haystack task, there is very little to take away from this work of brilliance.  Guitar-based albums can be a fragile thing, losing momentum and intensity long before the final lick, "Evil Enough" however steers cleverly away from this territory.  There is enough talent, emotion and depth pumped into every square inch to make it a captivating release.  It rises above the usual, typical release of the genre, and instead this axe-priestess gives the audience an album which will secure diehard fans, Gui-Tara Rises indeed.