Achtung! Achtung! Reichskommisar Davison here, to alert all members of the metal-legions that the second planned attack from the subterranean undead shock-troops, the Stuka Squadron, code-named “Tales of the Ost” has been delivered to our war offices here at Metal Team towers. Having wiped the many layers of dust caked onto the vinyl, and used the computer technology here in our research and development department, I’ve managed to finally bring to life these long-lost tales of bravery and derring-do recorded in 1942. Some of our loyal readers will no doubt be confused – just how can a band who tread the boards in our nation’s capital have recorded an album in 1942? Read on, but be seated – for the terror may well induce seizures, fainting and a sense of the incredible brought to life.
In 1930’s Germany, the occult Thule society was working towards harnessing the incredible powers of darkness in the pursuit of ultimate power, and thus it was that the squadron were formed from the undead. Uninterested in politics, the vampires with altitude formed the crack unit Stuka Squadron to reap gold, plunder women and generally ponce about it leather and Iron Crosses. It wasn’t loyalty to crackpot ideals that ensured their service to the Wehrmacht, but rather the more pragmatic considerations of mortal clunge, conquest and victory. This long buried audio document shows that it was the undead evil of the Squadron that invented heavy metal, not the laughable theory of four machine workers from Birmingham who merely flirted with the esoteric, rather than actual pacts of darkness and evil.
Their record of war details their brave and valiant efforts during the war, especially at the battle of Stalingrad. For the most part, the brave pilots of the Squadron produce an unholy brand of traditional heavy metal, veering between the sound of Iron Maiden at the height of their powers with the intricate twin guitar attack and soaring attack-vocals, the anthemic might of prime Saxon and the viciousness of Priest.
“Into the Breach” aptly begins proceedings, a slow chug interspersed with the voice of Churchill, air raid sirens and the sound of laughing vampires. “Tales of the Ost” soon follows, an epic six minute battle hymn that takes “Two Minutes to Midnight” and splices it with some wartime grit and dirt. It’s hard not to be swept away by the powers of Duke Fang-Begley, as he belts out the lyrics like a screaming Stuka himself. This is classic metal in every meaning of the phrase: superbly constructed, deadly and best of all….entertaining. There are those unbelievers, of course, who will scoff at the conceit of the band being undead vampires pressed into service by the Third Reich, but these are presumably the same dolts who refuse in the power of “entertainment”. For if one thing comes from these blood-drenched tales of wartime daring and adventure, it’s that old fashion notion of being told larger than life stories through the larger than life boys-own medium of heavy metal. The Lost Boys never wanted to grow up, and nor do the squadron. “The Last Resort” is an atmospheric interlude, the narrator detailing the struggle to hold back the enemy tide in 1942, before the ever-rousing “Stuka Squadron” dives into action. Those of you who have previously heeded my advice and gotten hold of the “We Drink Blood” EP will be old friends with this beauty. This is the definitive version of the tune, with the full power and clarity of the production job helping to hold the beast together. The mental images of blood-sucking pilots strafing and diving while being engaged by the enemy is matched by the instrumental heroics and expert axe-work. “A cross of Iron” is a spoken word piece that sets the stage for “On The Volga Bridge”. It details the heroic stand against Soviet hordes by lone undead swordsman (and guitarist ) “Gravedigger” Cox, the pounding, brooding bass work of Lord Graham Pyre providing the sturdy backbone of the track, until the simply stunning chorus. I defy even the most po-faced grim and frost-bitten bedroom warrior from wanting to sing along to “Ooooooon The Vooooolgaaaa Brrrrriii-hiiiiiiidge”. “Tiger 1” brings another track into the tried and tested route of metal adoration for tanks. This track stresses the almost mythical terror that the Tiger Tank could impose on their foes.
“The Fall” is an almost operatic intermission, again backed by faint sounds of warfare, radio transmissions and air raid sirens. The one-two attack of “Lovecraft” and “Zabulons Inferno” continue the sterling traditional metal approach, with the slight nod for quality being towards the intricate guitar work and power-metal-isms of “Inferno”. “Lord of Valhalla” is another quality spoken word piece over acoustic guitar, not unlike Solstice, but effectively melding the message of “Orgasmatron” with a word of caution for those who would unleash the God of War for their own ends. Long term favourite “One Eyed God King”, here again in deluxe re-condition, with the deliberate decision by Odin to bring destruction on those who would unleash such pointless, bloody conflict upon the world. This version is really brought to life by the production, with the guitar solo’s being brought to stunning life and elevated in the mix. It also features an off-kilter chorus with hooks that could ensnare a blue whale. How then could such a strong album be rounded off? Perhaps the only song that could do the rest of the platter justice is Stuka Squadron call-to-arms, the always rousing anthem to fast women, fast bikes, and vampirism.
This album is pure, stone cold solid entertainment from start to finish. I’ve had the good fortune to play it for a couple of weeks now in the car, much to the amusement of my seven year old son (who is a massive history and sci-fi geek), and he has enjoyed this as much as I have. This takes me back to memories of enjoying Iron Maiden and Thin Lizzy while my dad played their records, and perhaps signposts a welcome return to strong, confident heavy metal which has purity of purpose and strength in an unapologetic enjoyment of the genre. I don’t always have to have some po-faced gurning skinhead simpleton grunting about cutting women up to have a good time. Sometimes, well, sometimes, men revelling in the theatre and pomp of heavy metal are exactly what I need – hell, what my whole family needs – to have a good time. At the point of writing, this is my album of the year – and I don’t expect that to change.
I should also stress, that neither Stuka Squadron, or I, have any affinity to, agreement with or wish to be associated with the repugnant views of racial bigotry or hatred.
http://www.stukasquadron.com
http://www.myspace.com/stukasquadron
Chris Davison
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