VENDETTA – Tyranny Of Minority

After two instrumental guitar CD’s on Lion Music, Edward Box presents his new project, Vendetta, via said label. Dubbing it Vendetta may not be the greatest idea for a moniker since it may cause confusion with the old German Thrash band bearing the same name. Besides this blunder, Box wanted to return to his musical roots of Old-School Metal with this band. Songs were swiftly written and here the album is, less than two years since the band’s initial formation.

Unlike his solo situation (which, fair enough, shows off his Metal influences fairly well) where he performed all but drums himself, Vendetta sees a full band situation. Box has provided vocals as well, and has teamed up with guitar partner Pete Thompson to provide the necessary twin guitar Metal attack. You’ll find Gary Foalle on bass and, hidden behind the drums, Chris Higgins — a last name as British as tea, grey weather, soccer, dark ale and, of course, Heavy Metal. With that in mind, NWOBHM-like material such as “Fire At Will” and “I Executioner” stand toe to toe nicely with the pure Hard Rock-ridden “Golden Boy,” whose beginnings bare an uncannily similarity to Queensrÿche’s “I Don’t Believe In Love.” “Red Skies,” a mid-tempo Rocker, demonstrates chugginess of a particularly Classic feel, while more fast-paced “Plastic God” offers criticism of the consumer society all, more or less, are victims of each day.

Any ballads included? Well, there is one, but it’s the last track, so if a ballad is not your thing, hit “stop” or “eject” rather than “skip.”

Guitar harmonics and solos for Box and Thompson are credited for each track, of course, in grand Judas Priest tradition. A nerdy tradition, one may think, nevertheless a custom more bands should present themselves with more often. Box’s voice turns out quite good, if not spectacular. Obviously, he’s a guitarist first and foremost, but his vocals fit the total sonic landscape well enough, and melodies are sung to its effect. He prepared himself vocally while writing the material presented, and that shows.

The album offers feeling and variation within the concept of Traditional Metal, which does not seem the case as often in this day and age as it was when this music was originally crafted by it’s original pioneers. What’s weird is the production; it seems Edward Box has sought similar production values compared to his solo albums, but where these characteristics make sense for instrumental guitar exercises, it does not lend itself as effective for this setting. A meaner crunch is needed, and also the performance comes across somewhat stale at times, where a groove would had obviously benefited the songs.