As a fresh start for the Finns of VILE CALIBER, "Tomorrow's For Those Who Dare" obviously enjoys the full-time passion of this group of fellows going backwards against the current tide. Indeed, times do change and what once used to be considered cool isn't immune to stigma nowadays, yet the revivalist shift we've been witnessing lately is preferably to be considered.

Taken as a whole, though the general hedonistic aura as well as the focus on the aesthetic side through specific glam metal fashion, the record comes off well varied to the extent that it can amount to generic heavy metal specimen at the intersection of a miscellaneous assortment of consecutive Rock and Metal waves throughout the 70s and 80. For instance, "Dare To Love & Lose Control" or better "Snakebite Trail" take off as punk-inclined, well enough to stir things up yet not anywhere near acme. Conversely, "Black Karma" sheds light on a different angle of early 80s relics mostly when it comes to the vocals as well as more extensive soloing. Similarly, "Intertwine To Inspire" is a spin into indie rock with ethnic roots, whereas the inclusive package comes to pass as a raw sound left untreated for more laid-back listening, another point to reinforce the fact that such albums are better left unclassified genre-wise.

In point of fact, the über basic overall structure gives or takes quite a bit of the amateurish essence of the album. Hopping from the meager palm-mute verses in "Animal" to the promising bass intro and extreme tremolo bar of "To Love and Lose Control" only turning sour right afterward, mere mortals are prone to conjecture the entire thing is just abiding by a prefixed textbook despite a somehow palpable attempts to innovate or at least fueling it a bit, such as the growls and the signature juggle in the other punk inspired "Lost & Lustbound" which did pay off - although it could have been much better implemented, just along with the fact that the solos sound redundant and forcibly projected to a certain extent.

Still in the same context, "For The Sake Of Romance" categorically validates that the bass is actually the one and only instrument that one way or another attested a steadily reliable level. Otherwise, the album more or less struggles when it comes to both songwriting and technical skills. It definitely has its moments but rather ghost-like; for every now and then as soon as you get that slight prospect of a something catchy about to be brought in, it evaporates within the blink of an eye. Indeed, anything predictable and over-consumed like the low effort of the one step up riffing would make a difference, said no one ever. Over and above it, no one would make a difference without ditching the bed of roses view of the world and bearing in mind that you can't go a long way in a professional career from the perspective of what seems like a high school band striving to satisfy their label or even still aspiring to strike a deal with one.

Even with that said, I still haven't tackled the worst with "Tomorrow's For Those Who Dare". For God's sake, have a look at the most influential metal frontmen and behold how the term "Rock God" doesn't show up out of nowhere. You can't magically build magnetic riffs around shy melodies or shaky singing; for this highly demanding genre requires a genuinely assertive figure as a top priority, be it the vocalist, the lead guitarist or whomever as a signature or the band will be forgotten in no time. While the vocalist can reach high notes - something which some are ready to die for - all while not making proper use of them, the outcome is bound to fall within the range of hardcore or what sounds for this case like -meh- Visual-Kei (a term to which I have a tad aversion), most evident in "Break The Chains To Free Us" which makes it better to have prealably delved into the genre ( still having reservations ) to have your ears used to this sort of singing. Mind you about the paradox, with substandard rock material making in to the charts on ORICON! Indeed, the mentioned track dully unfolds until its mid part as - at least - the drums intensify gradually with crashes and double bass drums, though I eventually think the vocals' dire need for an extra kick has been by some means detrimental to the rest.

Ultimately, here is one of the albums where undeniably perceptible "good intentions" wouldn't make up for undeniably perceptible lacunae. And as being studious doesn't necessarily make you more creative, playing it safe rarely leads anywhere in such a milieu where average and great have nothing in common. Definitely not this time, but may be the next one!