Crumbling North Manchester UK, early summer of the Thatcher demolition of the miners and all hope, 1983. Just before the world takes notice of the undercurrent and swell of music about to make
everyone sit up and realise that Manchester is the musical and cultural centre of the known universe. New Order and The Smiths are just going from plying their trade to international recognition. In a three-bed semi-detached with no double glazing or central heating, grubby schoolboy hands hold the tickets to his first festival; Donnington “Monsters of Rock”. His world will be complete if Sennight are playing…
…but Sennight were at best still at school, if not actually born when I made the mettalic pilgrimage to deepest Leicestershire as a spotty teenager. Their sound, and the way they make music evokes that forgotten era. It may be flawed (wasn’t everything in ‘83 deeply flawed?), Sennight wear influences on their sleeve like I wore patches on my embarrassingly new battle vest. Traces of Maiden, classics like Rainbow and Dio, guitar sounds straight out of 1979. I had a “Magnum” patch. Just Saying.
I really don’t feel comfortable criticizing a metal musician or band when reviewing; I know about 12 chords on my guitar and get a sweat on if a song needs more than 4. On this album we hear guest guitar solos from Alex Parra, Brian Kingsland, and Ron Dalton Jr., and they’re all a positive; the lead vocals however… Put Julie Christmas or Ian Astbury in charge and just play your guitar. It worked for Slash, didn’t it?
Atlanta Melodic Metal Duo Sennight release a new full-length album, replete with guest musicians
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