The second long player of the Visigoths, who actually hail from Salt Lake City, USA, was released a few days ago and praised by the so-called trade press more or less, making Visigoth a bit less underground and meaning I am too late with this review. However, where I am only a few days late, the young band seems to be several decades late with their music. For what comes out of the speakers here could have come straight from the eighties except for the clean production and could have been recorded by Manilla Road or Manowar.
Like many by Kris Verwimp’s artwork enhanced records, be it black, heavy or thrash metal, “Conqueror’s Oath” is deeply oldschool. Both points has the album in common with its predecessor “The Revenant King”, with which Visigoth already made a name for themselves in the epic metal scene in 2015. In the metal mainstream, troops of this niche are rarely seen, and the success of Sweden’s Grand Magus has not changed anything in the past ten years. Nonetheless, in recent years, memories of ancient times seem to be increasing, as evidenced by US epicists such as Visigoth as well as European and, specifically, Southern European (Italy, Greece) ensembles. The fact that the guys from Visigoth are bound to true steel by passion far away from the mainstream is also showcased by the dedication of two band members, who more or less secretively with the aliases Shield Anvil and Mortal Sword released 2013 under the band name Caladan Brood a fine, among scene connoisseurs acclaimed black metal work tapping into the style of Summoning.
Visigoth, however, is dedicated visually, lyrically and musically to classic heavy metal with a generous dose of epic. The denim vest that bears the “Conqueror’s Oath” is adorned with patches by Manowar and Cirith Ungol, but also Hammerfall and Accept. The Salt Lake City collective offers its own kind of Epic Metal; one that is less playful, more straightforward and, above all, riddled with catchy refrains. Quiet guitar sounds, diversified structured tracks and abundant choirs provide the epic foundation, while fast riffs, double bass and catchy melodies lead to memorable songs that have the listener carried away at the first attempt. The best example of the union of the two genres is the longest track of the album, “Traitor’s Gate”, which starts slowly, but can not hold on to itself and explodes in a riff and drum inferno. The whole thing garnished with a thick chorus and finished is the Visigoth recipe.
If you want to experience the epic side of Visigoth in pure form, listen to the title track “The Conqueror’s Oath”, which borrows from Manilla Road; If you want to enjoy the rockiest and maybe best song of the album, you can convince yourself with “Warrior Queen”. The latter boasts fat riffs, eighties gang shouts and a thoughtful middle section, culminating in the last, highly memorable chorus.
In their compositions Visigoth are less complex and focus more on simple song material, which is quite an advantage on stage and on fast car rides, but after a few runs in the CD player, the uniform track tristesse spreads out. Mind you, after a few runs, which are rather more than less, because with “Conqueror’s Oath” Visigoth deliver a quite capable heavy metal work that easily surpasses the recent gushes of the old genre guard like Manowar and Virgin Steele. For the future, I wish for more variety or aspiration, often characterized by more progressiveness and a more dynamic production. In its present form “Conqueror’s Oath” suffers from a small dynamic range and loud tracks, which unfortunately does not stop at the compositionally good, acoustic passages. Here, the music demands less compression and more air to breathe for atmosphere that is important in the genre.