| Musical Style: Heavy Metal | Produced By: Paul May |
| Record Label: Dog Ruff | Country Of Origin: UK |
| Year Released: 2020 | Artist Website: Atkins May Project |
| Tracks: 12 | Rating: 90% |
| Running Time: |
The catch phrase introduced by Atkins May Project in support of its 2011 debut full length Serpents Kiss - how ‘extreme opposites have come together’ with the goal of proving that (figuratively speaking) ‘good and evil can work together’ - continues to hold true with the spring of 2020 release to its fourth full length album The Final Cut. Extreme opposites in terms of how the group consists of original Judas Priest vocalist Al Atkins and Christian guitarist and music artist Paul May, whom maintain a NWOBHM affinity with 12 tracks of finely honed traditional to classic heavy metal. When further factoring the quality to its back catalog, to also include Valley Of Shadows (2012) and Empire Of Destruction (2014), Atkins May Project unequivocally embody that good and evil can co-exist, albeit former comes out on top in light of May’s positive lyrical direction!
No small measure of said success attributes to Atkins and his signature gruff and gutsy middle register vocal style, projecting of full on power at moments notice but also capable of reaching down for a lower register growl. For those wondering, Atkins fronted Judas Priest between 1969 and 1973 and helped compose classic songs such as "Dreamer Deceiver”, “Never Satisfied”, “Winter” and “Victim of Changes”. He has also gone on to release seven solo albums along with the 2010 self-titled debut of his Holy Rage project.
May proves equally adept, unveiling lead guitar to range from intense to bristling to full of bluesy emotion while intermixing dominant rhythm guitar with riffs of a catchy nature. He gained initial renown for his work in A.N.D., another traditional metal act with which he recorded three albums in the early to mid nineties, in addtion to having appeared on over 50 albums in both the mainstream and Christian arenas.
The Final Cut gets underway to short instrumental opener “The Revealing” before moving on to its lambasting title track. Similar to much of the albums material, “The Final Cut” revels in a swarthy heaviness but does not forsake melody, as found in ample hooks in which to sink your teeth. Variety comes in the form of multiple instrumental sections and periodic slower passages. As with previous Atkins May Project albums, May composed lyrics with a Christian worldview in mind:
On a stallion of white
Like a thief in the night
This wrath will dawn
Fear the master of the storm
Feel the fire, no remorse
Victory’s name, the final cut
Fear this day, fear the one
Hear the cries, the reapers hand
His time will come
Introduced by a brief stretch of classical guitar, “When The Bell Tolls” tempers initiative to a flogging mid-paced grind as bluesy guitars perfectly align with Atkins’ gravelly vocal presence. A plundering bass line literally seethes beneath the surface, highlighting albums clean production in the process. The same classical guitar returns to close things out. Lyric snippet:
I was led astray off the narrow road
Where love was cruel and the world so cold
My heart was hard and my mind was stole
My mouth was harsh and my words were bold
When the bells tolls
And it’s calling your name
Better get down on your knees and pray
So when the storm blows and its heading your way
What you gonna do today?
“The War In Between” starts to guitar feedback prior to roaring forward to hard charging guitars. Full on energy is the upshot, with the tireless momentum bolstered further by the keyed up (and quite catchy!) refrain and tasteful stretch of mercurial leads from May. The smoother passage at the mid-point lends a contrasting soothing effect.
The trudging riffs opening “Treading Waters” hint of the muscular doom-like vestiges to follow. With its attitude laden lower register groove, the song bruises unremittingly, but it is not all buffeting in that some of the albums stronger hooks rise to the surface, referencing the engaging refrain. I appreciate the extended stretch of soloing to help carry things past six minutes. Lyric snippet:
You’re no mistake
In a world that cruel
It’ll twist and turn away
You’re destined for a higher ground
So don’t be fooled my friend
So never quit, never say die
Don’t turn and walk away
You were born to live, so fly again
Brave that storm today
Guttural mauler “Buried Alive” bludgeons its span, hurtling forward to recoiling guitar interspersed with slower moments of feedback-laced dissonance. Refrain repeating the songs title in curt fashion builds upon the acute landscape. Of particular note is the fade out blazing leads dancing between the left and right channels.
“Fighting Man” picks up impetus with its lighter and more refined feel. Yes, more melodic compared to some here - noting the smooth feel to guitar harmonies throughout - but it also does not back from the signature Atkins May Project powerful capabilities either. The song proves Atkins’ voice fits well within formats both graceful and harsher. Lyric snippet:
My heart has sank a thousand times
My mind, it needs repair
My body feels so battle worn
I’m stripped and sore my friend
Lift me up
Restore this beaten soul
Pour your healing balm down on me now
Lift me up, oh Lord
Albums fastest and most upbeat, “Dead Mens Bones” skirts speed metal territory from how it rushes forward with frenzied abandon as guitar feedback graces the backend and May’s cutting leads set the raging tone. Amazingly, periodic outbursts of high intensity emotion up impulse even further. It is good to hear Atkins May Project revisit is mercurial ways, noting Valley Of Shadows track “Stronger Than Grace”.
“Stranger In A Strange Land” represents this reviewer’s choice cut with its creativity. The militant drumbeat and rolling bass to start give way to an anthem-like demeanor, with a full on infectious melody conceived in the form of the mid-paced traditional metal class and rumbling low-end variances to surmount its length. I can see Oblivion Myth doing something like this. Lyric snippet:
I’m a stranger in a strange land
I’m an alien to this race, do I belong?
But I am settled for this purpose you’ve laid out before me
All these things that war against my soul
Though this heart be not troubled anymore
I will go to the place that I am called
It is my destiny
“The Cold Wind Blows” stands apart as another choice showstopper. It also trends the mid-paced, but highlighting some of the catchiest guitar riffs you will hear - bounding, mirthful and of a near commercial quality - along with a rawer sound lending more to hard rock as opposed to metal. Instrumentally, guitar discord and clashing symbols lead the way to a run of soloing played with immense feeling.
The gentle guitars to open “Masquerade” clash with the pulsating energy to follow, with a remorseless tempo set as brimming rhythm guitars lock into step with a propelling low end to speak of the ruthlessly caustic. Despite the explosive mentality, the Atkins May Project inclining for accessibility again rears its head to sidestep any repetitive nuances. Lyric snippet:
This world may drive you to your knees
Don’t play its game
This system thrives to break you down
It’s time to change this masquerade
Manipulated, what a charade
Been so misguided, was led astray
Fed me demons, you fed me lies
Won’t be fooled by your disguise
Each previous Atkins May Project album includes an epic in the eight to nine minute rang and The Final Cut is no exception, noting the ‘extended version’ to albums title track. Main difference is the three and a half minute instrumental build up to include atmospheric guitars, piano and feedback, and closing minute driven by offbeat sound effects. Otherwise, “The Final Cut” stays true to its original rendering.
If The Final Cut is not the best Atkins May Project album, it at the very least challenges Valley Of Shadows in this capacity, noting the 90% score assigned to each. If anything, The Final Cut features many of my favorite Atkins May Project songs, and when further factoring the ever-present abilities of Atkins and May - not to mention top-notch packaging to include eye catching Rodney Matthews cover art - it adds up at minimum to a top five release of the year. That said, when factoring the albums title, I hope it is not the ‘final’ Atkins May Project collaboration, either, but if it is the duo are going out in making a strong artistic statement.
Review by Andrew Rockwell
Track Listing: “The Revealing” (:36), “The Final Cut” (4:43), “When The Bell Tolls” (4:58), “War In Between” (4:22), “Treading Water” (6:18), “Buried Alive” (4:32), “Fighting Man” (4:52), “Dead Mens Bones” (3:53), “Stranger In A Strange Land” (5:26), “The Cold Wind Blows” (4:12), “Masquerade” (5:34), “The Final Cut” (9:04)
Musicians
Al Atkins - Lead Vocals
Paul May - Guitars & Everything Else
