First published by Midlands Rocks www.themr.co.uk September 2011
Greasy, biker-metal that owes as much to The Almighty as it does to one of the band’s stated influences, Black Label
society. Sure, there’re plenty of Zak-style pinch harmonics but the stripped-down, bare-knuckle approach of Ricky Warwick’s freewheeling punk metal rebels is deployed liberally throughout the cuts which comprise ‘Bones’, debut album from Midlands combo, Long Day Fear.
It’s dirty, spiky and unashamedly in your face. And those influences, to which you can add Pantera and even a hint of Black Velvet Revolver, particularly during the jagged but circular riffing, are not necessarily bad things.
However, first track, ‘Head Down’ betrays the band’s weakest link within the first two minutes and it’s a certain lack of imagination in the song writing department. Yes, the riffs are acceptably crunchy, crusty and catchy and the lead breaks are certainly the work of a man who knows a bit more than just a couple of pentatonic box shapes and the five CAGED chords. Even the vocals, while displaying more than one moment of uncertain pitch, are refreshingly clear and in a scene dominated by screamers, growlers, fakers and front men who simply cannot sing by any reasonable criteria, Richie Tyler’s contributions are to be welcomed.
But back to the songs. ‘Head Down’ has run out of steam by the two-minute mark leaving Mr Tyler with little to do but repeat, seemingly ad infinitum, ‘head down, head down, head down’. At only 3.47, it’s worrying it feels like five minutes.
That predictability raises its weary head again during, ‘First Born Son’. Verse, chorus, verse chorus, lead break, chorus, repeat to finish and that’s your lot.
Don’t be getting the wrong idea, though. There are good moments to be found. ‘S.O.B.’ for instance, probably the most Black Label Society-like song on offer, offers serious heaviness and an inventively twisted and twisting intro riff.
Similarly, ‘I’m Superman’, sporting, as it does, a quicker tempo than many of its predecessors, hits the mark rather more satisfyingly by virtue of some much needed variety.
But songs with simple tribal-style chanted choruses, which these invariably have, need to offer a little bit more to retain the listener’s interest and the fact remains that the lack of hooks and formulaic nature of the song writing does pal after a while.
There’s no lack of testosterone, commitment and proficiency on offer and one strongly suspects that in a live setting these guys could well be phenomenal. Certainly there is potential and enough here to merit your time but, for now, on record at least, Long Day Fear is a work in progress.