I wouldn’t go so far to say all old schoolers have a better grip on traditional metal than us revivalist kiddies in our twenties, but a band like Ignitor makes it hard to argue the contrary. Formed in the dark days of the early ’00s, the Texas based supergroup has been dealing in pure, unrelenting steel for over 20 years now. Sure, members have come and gone, but the intent remains the same. In fact, it can be argued that Ignitor’s strike has only grown more lethal over the years, that with age has come a more refined metallic attack, showcased in all its glory on their latest album, Horns and Hammers.
Like the last couple Ignitor albums before it, Horns and Hammers boasts a lineup of Jason McMaster (Dangerous Toys, Watchtower) on vocals, Stuart Laurence (Agony Column) and Robert Williams on guitars, Billy Dansfiell (Agony Column) on bass, and Pat Doyle on drums. Together, these five veterans are united in keeping the old school spirit alive, something they do incredibly well on the all killer, no filler affair that is Horns and Hammers. Lying somewhere between Dio worship, blistering speed, epic doom, and bloodthirsty US steel, Horns and Hammers offers something for every headbanger.
The first couple songs on Horns and Hammers come off as a throwback to USPM circa ’84. The ripping title track and otherworldly “Imperial Bloodlines” aren’t far removed from what one would expect from the likes of Jag Panzer or Omen 40 years earlier. “Dark Horse” shifts gears to a sort of unorthodox Dio era Sabbath meets Cirith Ungol power-doom assault, which is further explored on lumbering cuts like “Shattered Crosses” and “Suicide Anthem”. For as well as McMaster can carry a melody (Dangerous Toys) or convey chaos (Watchtower), on Horns and Hammers, McMaster goes full frantic banshee mode, evoking the likes of Tim Baker and the late RJD at their most crazed.
Speaking of Dio, “Cyber Crush” might be the best song off Holy Diver that never was, while “Ferocious the Martyr” is a snapshot of what could’ve been had Ronnie taken the Deep Purple gig in ’73, driving Hamond organ and all. Riddled throughout this entire album are galloping riffs and twin lead melodies, courtesy of of Laurence and Williams. Their observance of this sacred early ’80s art is especially prevalent on the Maiden flavored “Taking Up with Serpents” and aptly titled “Chaos Maximus Eternal”. Rounding it all out is a star-studded cover of Saxon’s “Machine Gun”, featuring guest appearances from new Metal Church frontman Marc Lopes and the only boss this webzine will ever recognize (Bruce, who?), Ross the Boss.
Those who prefer their metal clad in denim and leather (and if you don’t, why are you reading this to begin with?) will raise their horns and hammers in rejoice over Horns and Hammers. It’s top notch traditional metal from start to finish, played by top notch dudes. What more could you ask for? The Lone Star State oughta be proud of these good ol’ boys done good. Hell, I know I am, and I’m a damn Yankee (not the Ted Nugent kind) from Chicago!
8 out of 10
Label: Metal on Metal Records
Genre: Heavy Metal
For fans of: Dio, Attacker, Jag Panzer
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