Album Review: Saxon – Hell, Fire And Damnation
Reviewed by Sam Jones
Where does one begin with Saxon? Originally formed in 1970 as Blue Condition, changing to SOB in 1972, then Son Of A Bitch by 1975, before finally deciding on a more label-friendly name of Saxon in 1978, the band have become of the UK’s longest running metal acts and are formally regarded as one of the NWOBHM’s finest success stories. Releasing their debut self-titled album in 1979, the band went on to release material now hailed as absolute 80s classics like Wheels Of Steel and Denim And Leather, records nearly every metal fan on the planet has heard at least once. Saxon are renowned for their hardworking ethic and often supported many other acts of their calibre like Girlschool, Motörhead, Judas Priest etc. But the clock has chimed once more and Saxon’s twenty-fourth album has come (a number of records few bands have ever reciprocated). I personally feel Saxon’s modern material is just as good as anything they released during the NWOBHM’s heyday and I had high hopes for this album. Releasing January 19th via Silver Lining Music, this is Hell, Fire And Damnation.
Leave it to Saxon to, after forty-five years on from their debut album, still have the care to invest in a quality opening. It may be their twenty-fourth album but that doesn’t mean the band seek to skip effort altogether merely to reach some superfluous form of success. A brief but symphonic piece that sets the tone straightaway no less than their album title does too, and the band are already on to a win since the audience is soon pulled into their sound. Considering these guys are well into their twilight years and, bar their Bassist, every member is old enough to qualify for a free bus pass, it’s endearing to see this level of quality still shine so innately throughout this record. When you see an older legacy-style of band a new album can have legitimate hopes, or it can be seen as an act trying to maintain relevancy. But Saxon have never been irrelevant and it doesn’t take long for us to realise just how dedicated these guys are, and continue to be, committed towards producing quality heavy metal.
The guitar work herein is exemplary as while it’s far from anything you won’t have heard before from Saxon, it perfectly captures the kickass attitude the band are renowned for. It doesn’t seek to envelop us nor is it trying to impart some particularly unique soundscape; we and the band know what the other should expect this record to be and we’re completely fine with that. The guitar sound is excellently balanced within the mix as it plays alongside the bass and drums to bolster the band’s established sound. It’s old school NWOBHM slapped with a sublimely modern edge. Listening to the riffs and tone feels like the band stretching out a hand to pick us up after we’ve been knocked down in the pit, and then we’re being handed a beer and compliment. It’s rare to encounter a metal record that harnesses this resolute, iron tone yet is still infused with a brotherly camaraderie that puts on an honest, proud smile on your face. It’ll have your feet tapping, your head bopping and excitement climbing and that’s only within the first few tracks. Knowing there’s a whole album of this is sheer serotonin gold.
Songwriting is a curious thing. You’re not so much simply writing music, but constructing a story within your music, and the shape it flows with, which is going to bind people to your sound. I’d personally place Saxon just behind Iron Maiden as the masters of old school metal that also utilises storytelling in a sonic context. When you listen to the band play, it has extremely definable sections that pull at the audience and hint to us that we should be paying attention or “Hey, here’s a crucial bit towards understanding the vibe of this track”. Knowing Saxon’s NWOBHM background is naturally geared towards the steadier tempo, it gives the band time to let these sections of music breathe and to imply heightened importance to otherwise straightforward segments. Additionally, the band’s songwriting is never just one-note; their sound has always prospered when the flow of their music shifts and moves like a river meandering to and fro. Rarely does a Saxon track, here or elsewhere, stay the one straight course for its entirety; there’s always something added in to give extra life to their performance. I wouldn’t outright deem it melodic, but experiencing this Saxon record is akin to listening to a dancer perform, or watching their body move with planned and precise grace.
It staggers me how these guys keep going. Biff Byford is seventy two years old and, astonishingly, this vocals have remained unchanged in quality the last three decades seemingly. Perhaps his ability to perform his vocals has slowed, but given the nature of Saxon’s tempo and style that isn’t a major issue he need be concerned with. Thankfully this also isn’t the kind of album where you’ll be berated by high-pitched screams as Byford’s approach to lyrical delivery is very natural and simply exudes the cool factor, it’s very theatrical in that manner as he, on record and on stage equally, transforms into more than Biff Byford, and becomes the legendary Saxon frontman whose voice is synonymous with Saxon’s biting performance and even throws out the odd scream, still performed and held well at his age. There’s also their drummer, Nigel Glockler, who only a few years ago suffered a brain aneurysm which required life-saving surgery. Having recently turned seventy himself you’d think he slow down his efforts owing to recent history, but there are periods throughout this record such as “There’s Something In Roswell” where his drumming is absolutely a standout feature and draws you immediately into their songwriting. Passion never dies and, going off what these men have brought to fans with this record, neither will Saxon.
In conclusion, Saxon’s newest album, their twenty-fourth is not only another quality release but perhaps their absolute best in years and even considering the traditionally high quality a Saxon album often assumes. From top to bottom, this album earns its namesake: blasting through the walls of our mundane life to deliver us brimstone and fun with a roaring soundtrack to boot. It’s the kind of metal album you can put on and you’ll be dancing badly to it, smiling with total abandon, and be ready to stick it on from the start all over again. Saxon, steadily approaching fifty years since their name was decided upon, are still in their arguable prime and if anything are in the best shape sonically they’ve ever been; they’ve always had their classic material and that always receives massive appraisal from live audiences but reducing their modern output as lesser quality simply because it’s being released in 2024 would be elitist folly. Hell, Fire And Damnation is from a band incredibly experienced and understands what their fans want; I came out of this record absolutely amazed and still, after everything Saxon have thrown at us, I want more. It’s purified and proud heavy metal anyone can get behind. The band are getting older but, the passion, the drive, the energy has never gone away. Nothing is going to stop them. Respect.
