| Musical Style: Rock | Produced By: Myles Barfield |
| Record Label: Roxx Records | Country Of Origin: USA & New Zealand |
| Year Released: 2022 | Artist Website: |
| Tracks: 13 | Rating: 65% |
| Running Time: 49:30 |
Sophomore Iron 501 album Night Witches is more about style than function. Sure, the April of 2022 Roxx Records released work gains the name recognition from featuring iconic vocalist Dale Thompson (Bride), whom also fronted the groups 2021 sophomore effort Sgt Reckless (also Roxx), but it is frustrating on several levels. As the project of multi-instrumentalist Myles Barfield, Iron 501 continues to make bass, drums and vocals its focal point while eschewing guitars. Yes, a novel idea and in no way am I suggesting Iron 501 sells itself short by going a ‘guitar-less’ route, but it also limits what it can do musically.
The funk and groove based rock I hear on Night Witches, for instance, might have benefited from the diversity an occasional guitar solo, acoustic/rhythm guitar passage or bluesy slide guitar might have provided. Album still presents with its share of creditable material regardless, but due to the group basing its sound on such a narrow instrumentation framework, musical depth is lacking from a few too many songs struggling to separate or stand apart as they should. It also does not help that Night Witches comes in at a whopping 13 full-length tracks.
Album is front loaded with two of its better songs in “Filthy 13”, venting of undeniable energy and every bit ample hooks to draw in with repeat play, and “To Hell And Back”, giving prominence to a classic rock fee with its shuffling low end and equally enticing hook proclivity. On either cut Barfield’s talent on bass stands out with his irrefutable rhythms and penchant for using his bass to mimic sound of a guitar.
Also solid is “Mann Gulch” with its joining of ominous overtures and abundant melody to grind in trenchant mid-paced fashion and “Descent Into The Maelstrom” as one of albums catchiest with its anthem like refrain and hard rock overtures to hint of Bride. Credit Thompson accordingly for elevating both songs with his granular and raspy blues drenched vocal style.
Speaking of which “Village Of Eyam” begins to plodding bass speaking of the melody to classic Bride cut “How Long” (off Drop from 1995) in interweaving between moments alive with mirthful allure and others returning to the more labored moments to start. Another choice cut is “Anzac Day” with its experimental feel in reinforcing distorted bass feedback and spoke word vocals, while also of merit is albums title track from reinforcing blithesome rhythms and melodic bass to hint of a grunge like groove.
Albums remaining material does not hold up to quite the same extent in that “Zookeeper’s Wife” and “Great Raid” impress as merely good when placed alongside those previously referenced. Former is albums fastest with its exorbitant ardor and tumultuous underpinnings and latter bounds as well but interrupted with periodic start and stop time signatures. Ultimately, missing from the two is the type of hooks to pull in when given time.
Also on the medium to good side is “Tones Drop”, pulsating with its underpinning low end and imposing momentum but also unexceptional in that (again) the hooks are not present to draw me in, and “No Mans Land”, transitioning its span between quieter ballad like moments and those speaking of exponential force but not going anywhere in the process. Am I out of line to suggest some strategic rhythm guitar or well-timed lead guitar might help either shine that much brighter?
Two filler tracks round things out. Neither “Battle Of Stalingrad”, a repetitive four minutes of off kilter initiative and rough and tumble disposition, or “Tunnelers Of Holzminden”, every bit awkward with its clunky mentality and directionless form, do anything for me. Fact is album is too long at 13 songs and just under fifty minutes.
Where it succeeds laudably is in area of lyrics - and give Thompson significant credit in the area - from revolving around historical themes (sort of like Sabaton) but with a heavy slant to World War II. Songs titles such as “Filthy 13” (1st Demolition Section of the Regimental Headquarters Company of the 506th Parachute Infantry Regiment), “Battle Of Stalingrad, “Night Witches” (German nickname for the all-female aviators of the 588th Night Bomber Regiment of the Soviet Air Forces) and others are self explanatory. Group steps outside the box on “Mann Gulch” (Mann Gulch fire from 1949) and “Anzac Day” (a day of remembrance in Australia and New Zealand for those that served and died).
It would be suffice to suggest Iron 501 struggles in the area of musical consistency due to approaching the hard music genre by limiting its options in terms of stringed instrumentation. With a bass only approach and sidestepping of any sort, Iron 501 is traversing musical territory allowing little if any room for error. Yes, when the group is at its best (on half albums material) it hits the ball out of the part but is not able to maintain the form the entire album, which lends to the conclusion it might have been better if Night Witches had been released as an EP instead. Moving forward, when at the top of its game Iron 501 exhibits solid potential but also needs to step outside its musical boundaries and expand upon its limited instrumentation framework if that potential is to be reach let along exceeded.
Review by Andrew Rockwell
Track Listing: “Filthy 13” (3:36), “To Hell And Back” (3:57), “Battle of Stalingrad” (3:44), “Tones Drop” (3:57), “No Mans Land” (4:06), “Zookeepers Wife” (3:51), “Great Raid” (3:35), “Mann Gulch” (4:03), “Descent Into The Maelstrom” (3:42), “Tunnelers Of Holzminden” (3:39), “Anzac Day” (3:44), “Village Of Eyam” (3:56), Night Witches” (3:42)
Musicians
Dale Thompson - Lead Vocals
Myles Barfield - Bass, Drums & Percussion
