Welcome to another edition of From My Collection. While the NWOBHM began to wind down in 1982, its effects on metal were already being felt globally. Independent labels, much like Metal Blade, slowly but surely began to arise. With the advent of such labels came rosters of young, hungry bands inspired by both the metal of the ’70s, as well as the aforementioned NWOBHM. One such band was Witchkiller. Formed in 1981, the band released a slew of demos before being recruited by Metal Blade in 1984. It was on that label that they released their first and only EP, Day of the Saxons. Today, we revisit this classic mini-LP, as well as that unique window in time post-NWOBHM, pre-thrash explosion.
As mentioned above, Witchkiller had been banging around the Canadian metal scene for quite a few years prior to their 1984 signing to Metal Blade. Canada had always been rife with hard and heavy bands, going back to the ’70s with acts like Rush, Triumph, Moxy, Helix, and more paving the way. Come the early ’80s, Anvil singlehandedly burst down the floodgates for the country’s burgeoning traditional metal scene, which served as a counterpart to both the NWOBHM and the coastal American scenes. Witchkiller were proudly part of this wave, decked out in all leather uniforms and specializing in a brand of metal that lie somewhere between Priest worship and power metal at its earliest.
Of course, Witchkiller weren’t alone in this camp. Acts like Manowar, Queensrÿche, Warlord, Savatage, Armored Saint, and so forth were capturing the imaginations of headbangers worldwide, their unique twist on metal drawing musically from the likes of Rainbow, ’70s Scorpions, and the aforementioned Priest, but with a youthful bravado. By comparison, Witchkiller’s brand of metal was more of a blunt force attack, but nevertheless a crucial listen. Besides, if it bore the Metal Blade logo in ’84, it was a seal of approval!
Day of the Saxons opens with its anthemic title track: A four to the floor headbanger that doubles down on the Priest influences. Its formula of pedal to the metal riffing, driving drumbeat, and anthemic singalong chorus reeks of Priest’s “Delivering the Goods”, which is fine by me. Witchkiller weren’t alone in borrowing, I mean, exploring this template, and lord knows they executed it a hell of a lot better than their peers. Its lively and energetic, setting the stage for a thrilling US metal gem of an EP.
The ominous “Riders of Doom” follows. Contrary to its title, there’s nothing doomy about this song from a musical perspective, so don’t expect your usual Iommi tritone maneuvers. Instead, expect an otherworldly slab of epic metal akin to what Manowar and Brocas Helm were specializing in at the time. It starts with a gentle, otherworldly introduction of just vocals and guitars, before building up into a full blown, gallop-riff laden battle march. With its picturesque lyricism and wild vocals that alternate between throaty bellows, Halfordian shrieks, and air guitar friendly solos, it’s the perfect tune to bang your head and pump your fist in the air to.
As we flip over to side B, we’re greeted by the dramatic “Cry Wolf”, which is carried by its exotic guitar lines. Aside from the aforementioned Brocas Helm and Manilla Road, there weren’t many bands in the early ’80s metal underground with guitarists who tapped that Uli Jon Roth vein. Witchkiller was one of them, and as strong as the songs and performances here are, one could argue axe-slinger Kurt Phillips is the star of this outing with his unorthodox, yet memorable riffs, melodies, and solos. It’s because of a song like this I’d argue Witchkiller lies closer to modern day epic metal than power metal, but I digress.
The NWOBHM flavored headbanger mania of “Beg for Mercy” is more straightforward in arrangement and attack, again evoking those Priest tropes like the opening title track. Pull out your imaginary flying V and air-guitar the night away! This song calls for nothing less. Every riff and solo screams out of your stereo in full ’80s metal glory. Closing it all out is the menacing “Penance for Past Sins”. Menacing in both musicality and lyricism, it certainly channels that “dark NWOBHM” vibe that Angel Witch perfected on their legendary 1980 debut. Even frontman Douglas Lang Adams’ vocals here give off a bit of a Kevin Heybourne bite, which is damn cool to me.
Although not nearly as god tier as the Queensrÿche and Warlord EPs that proceeded it, Witchkiller’s Day of the Saxons was an industrial strength opening statement from a band who should’ve made it to the full length stage. Instead, they split in 1985, following the release of a final demo entitled Who Are We?. The circumstances beyond said split are a mystery to me, although I’m sure the answer lies in some obscure zine or a cobweb-ridden corner of the metal web-o-sphere. Per the handy, dandy Metal Archives, Witchkiller apparently reactivated in 2012 and are still active today, but have yet to release a proper follow up to their sole opus. Only time will tell if they ever do!