Eliminator - Last Horizon

Eliminator Last Horizon cover
Eliminator
Last Horizon
Dissonance Productions
2018
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My latest compelling British find, coming on the heels of Amulet, Kaine and Dream Troll, is Lancaster/Lancashire’s Eliminator, which last month finally released an intensely polished and intricate full-length debut, “Lost Horizon”, on Digipak CD under Dissonance Productions succeeding years of diligent fine-tuning, as well as its rather lowbrow yet as competent “We Rule the Night” EP from 2011. Strangely, at first glance I preferred the latter’s raw edge and old-school flair but after several erudite listens, have come to appreciate this recent development's high level of sophistication and talented musicianship which bring to mind a taut, snappy and super melodic cross between early Judas Priest (i.e. “Sin After Sin”, “Stained Class”) and late-in-the-game Iron Maiden, more specifically its post 2000 Bruce Dickinson reunion years. That said, strap in for numerous science fiction themed lyrical twists and downright gripping twin-guitar harmonies, mellifluous albeit manly upper mid-range vocals, as well as satisfactorily brittle and tight drums compounded by oh-so-adventurous and prominent bass lines.
 
The orbital countdown begins with front man Danny Foster’s stentorian “Oh-oooh-ooh!” crooning and razor sharp spiraling riff-age, courtesy of ax men Matthew Thomas (rhythm) and Jack MacMichael (lead), on the apocryphal, future shock opener aptly titled “2019” and irrepressibly escalates beyond the netherworld on seven additional epically fist-pumping humdingers, the lot of it totalling forty congenial minutes of rampantly driven and forceful space faring traditional heavy metal punctuated by stellar guitar solos complimenting crisp, comprehensive riff after riff, as well as interspersed with sparkling ear-worm melodies such as the title track’s hyper-drive evoking intro, the majestically wistful guitar progression/incredibly synchronizing swell highlighting the chthonic and trippy “Echoes” and above all, my number one go-to track, the astral and otherworldly “Edge of a Dream”, the main ephemeral guitar lick of which unyieldingly elevates me to stratospheric plains – In fact, I can’t even begin to formulate the words to describe its dazzling and mesmerizing rad-ness; you really need to hear it firsthand, In any case, I commit to eat not only mine, but your hat as well should it fail to fully tickle your fancy! This “Wasted Years” paralleling winner’s heartfelt chorus, wall-scaling and stand-alone triplet based bridge as well as fluidly shimmering acoustics and twinkling solo section are further cause for jubilant celebration.
 
Worth noting is how flawless and vibrant the overall production is, with every element, be they the poignantly inflected vocals and mercurial guitar parts or Jamie Brandon’s unabashedly carousing bass and Dave Steen’s stoically levelling drums, rising to the fore, thus making “Lost Horizon” one Hell of a sturdy and enterprising, sonic chasm traversing vessel. Although the songs’ compact-fully woven fabric adhere to time-honored verse/chorus/verse constructs, the high level of variety and effortlessly segueing components, as well as formidable track placement, easily make the entire album an ineluctable grower, Foster’s memorably catchy and introspective, starstruck verses withstanding. The savory and deep-seated choruses are also quite heavenly, notably “Pride and Ruin”, the next-to-last number, which precedes the token long-winded (as well as furiously lead choked) saga and closer, “Spoils of an Empire”.
 
Essentially, Eliminator’s latest opus is a must-glean for any self-respecting and open-minded traditional heavy metal enthusiast. While, it will likely reel in you right off the bat, stick around for repeated listens as, like a fine vintage claret, it will only sound better with time.
 
“They say that pride comes before the Fall
For all their knowledge and their power
They couldn’t hear the call!”

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