HALLION

BORN OF FIRE

This cd from, the info I have, has been around for a couple of years now as a demo but has now received a final mix. I have heard both versions and it’s obvious that Gav Ruadh’s skills in the production department have increased considerably since the earlier demo incarnation. Gav Ruadh appears to have handled all instrument duties, although I understand that a full band has arisen since this.

The cover art, impressive as it is, does that rare thing of informing the listener exactly what to expect. An American car glaring through flames informs us that we are about to hear something that roars, has a classic feel and generally has no wish to conform to whatever is “current”. The reverse art, basically a negative image of the cover complements some of the colder moments.

Onto the songs! Variety seems to be this album’s trump card. You’ll find it hard to find 2 songs that sound similar. The track listing takes you up, down, have tearful moments and makes you want to smash things in rock n roll style! It’s a journey in itself .The highlights are as follows.

The opener, “FFEF”, is deceiving. It kicks like a mule thru most of the song, dipping into a “lullaby” style verse. It’s happy, and gives a devil-may-care impression, from here, it’s very different.

A huge wall of distorted guitars and a filthy wah lick introduces “Drama Queen”, a brooding song that spits and snarls throughout, raising itself to a higher level throughout the choruses.

“Ain’t Fallin’ In Love Tonight”, a song worthy of that Prince of Darkness himself; Alice Cooper, a darker side to the music arises. Creepy gothic organs and heavily echoed guitars tell the chilling tale of pre-meditated heartbreak on the part of a lady.

“Could It Be You” is another deceiving piece of work. Starting with an all too familiar cowbell and a wall of Marshall windmill chords, we are given something sounding like a typical 80’s metal song. What saves it from this fate is the almost sweet and innocent lyrics of love. Melody is another key factor here, something this CD is not lacking in.

“There She Goes” is not a cover of The LA’s 1990 hit, but an almost fragile song of lost love with shimmering acoustics and subtle piano. For me, this is the album’s highlight. A “More Than Words” for the new decade.

The albums closer, “The Great Song Of Defiance” (a great title) is a true bruiser of a song telling a tale of bettering one’s self thru adversity.

The remaining songs border dangerously on filler but save themselves in the following ways.

“Cruisin 4 A Heartbreak” would’ve been awesome if Jim Steinman had a hand in it. It’s good, but you can tell that it very slightly misses it’s intended mark. “Everytime” opens like it means business! Thundering drums and galloping guitars, it’s weakness being a poor vocal mix making the lyrics difficult to hear. It’ll probably hit it’s stride live though.

“Ain’t It The Truth” and “She’s A Bomb” are obviously intended to lift the flow of material but I can’t take to them. Their cheeky demeanour make them hard to actively dislike. I guess I just prefer the slightly moodier and aggressive material (What a miserable bastard I am!)

The musicianship on this record is admirable. It’s detailed without being complex, competent without over playing and it feels like the songs are paramount. Guitars rip but also have sensitive and sympathetic moments. The bass gently warms the songs with the drums being crisp and authorative, although a little mechanical the skin bashing sounds solid. The vocals throughout are by no means multi-octave but they hold the songs well and are distinctive in their raspy yet melodic way, if a little buried on occasion.

Overall, this is quite, and an as yet, undiscovered gem! It feels like it doesn’t care about fitting into current trends and that in itself is true attitude!

-Danny Evans