In 2007, before the so-called NWOTHM really picked up steam, a Japanese band by the name of Blaze popped out of nowhere with their eponymous debut album. In the years since its release, Blaze has become a cult classic, and for good reason. Not only is every song top shelf, but the album itself is a deviation from the Priest and Maiden dominant sound that would characterize the NWOTHM movement, instead borrowing from the likes of Uli Jon Roth era Scorpions, early Loudness, obscure NWOBHM, and ’70s metal. Many, myself included, chalked Blaze up to be a “one and done” act. Besides, how does one follow up an album of Blaze‘s caliber? By waiting 18 years to do so, of course!
If the ’20s have proven anything, it’s that any band who can come back will come back. Whether it be in the form of ’80s bands releasing their first albums in 35+ years, or zombified mutations of Pantera and Rush hitting the arena circuit for mega-jaunts, it seems we haven’t been able to go a single month of the ’20s without some band of yesteryear pulling a “We’re back!”. Even a cult act like Blaze is no exception to this rule, rising from the ashes with their long awaited sophomore effort, Out Through the Door, which is a fitting title. In an age where “metal” webzines pen clickbait articles about bands who aren’t even rock, let alone metal (looking at a certain “anonymous” English act), Blaze step, well, out through the door to reclaim this music’s pure nature and one-time innocence.
Much like Blaze before it, Out Through the Door boasts a strong ’70s traditional metal sound reminiscent of Scorpions and UFO. The songs are draped with melodic flourishes, yet without ever sounding commercial or AOR. These are then contrasted by a warm retro production and crunch-driven Schenker-esque riffage, giving off a ’77 type atmosphere. “Let the Right One In” captures this formula perfectly, and sets the stage for the remainder of the release which is equally classic in nature. Earworm heavy rocker “Picture on the Wall” even boasts those Virgin Killer era chorus harmonies and Uli Jon Roth-flavored soloing, while “Rock ‘n’ Roll Man” boasts a swaggering, Status Quo-esque boogie metal bounce.
At its heaviest moments, Out Through the Door channels the pre-commercial era of fellow countrymen Loudness and again, classic NWOBHM. The angsty “The Man in White Boots” sounds like a lost demo era Satan rager, when their youthful naivety trumped the ambitious leanings that would dominate Court in the Act. Meanwhile, uptempo bangers like “Someone Special” and “48 Parts” sound as if they could’ve been lifted off any of the first four Loudness albums with their rampaging riff attack and headbanging pace.
While the songs themselves aren’t as immediately memorable or of the same caliber as its predecessor, Out Through the Door is a strong return from one of the most beloved acts of the 21st century trad metal scene. Instead of forcing their creativity and perhaps soiling their reputation with a string of phoned in, subpar, contract-fulfilling albums, Blaze have taken their time to craft an affair worthy of their legacy, as brief as that legacy may be…for now. Perhaps we’ll be reviewing their third album in 2043!
7 out of 10
Label: No Remorse Records
Genre: Heavy Metal/Hard Rock
For fans of: Scorpions, Loudness, UFO