| Musical Style: Heavy Metal | Produced By: Mark Robins & David Bridge |
| Record Label: Sonic Age | Country Of Origin: UK |
| Year Released: 2024 | Artist Website: |
| Tracks: 14 | Rating: 85% |
| Running Time: 68:31 |
Lazarus impresses us with its integrating of traditional metal, power/thrash overtones and progressive subtleties. Better known for placing the tracks “Do Or Die” and “Overpower” on the 1991 Edge Records/Kingsway Music compilation White Metal Warriors - Last Ship Home, the UK based five piece traces to the late eighties when guitarists Stuart Pope and David Bridge started jamming at a youth event. The two recruited bassist Mark Robins and drummer Paul Jarrett to round out the initial Lazarus lineup, which led to the group performing at the Greenbelt Festival in 1987 and 1988 in addition to signing a three album deal with Edge Records/Kingsway Music. Lazarus finalized its roster with front man Jonathan Budd ahead of recording three songs for White Metal Warriors, with the third “Onto Jerusalem” not being released, and starting work on an album of original material entitled Catharsis.
Upon completing the recording process in June of 1991, the group forwarded the master tapes (along with cover art and liner notes) to Edge/Kingsway. Despite a tentative release scheduled for the spring of 1992, the album - under the new title Exegesis - was ‘placed on ice’ by the label due to a changing musical climate not friendly towards the groups traditional metal and sadly never saw the light of day. That is until now, when Sonic Age Records stepped to the plate in January of 2024 and gave Exegesis a much-deserved release along with both White Metal Warrior tracks and a demo version to “Onto Jerusalem”. Of note is a 24 page mini booklet including a detailed interview with Stuart Pope, lyrics, artist commentary regarding individual songs and band photos.
“Seein’ Aint Always Believin’” is first of three six-minute songs to open Exegesis. It embodies the group’s traditional metal roots, with open-air guitar preceding heavyset riffing as Budd shines with his searing vocal style and chanted vocal melodies adorn the gripping refrain. Yet, a light progressiveness reveals in a time signature towards a thrash direction for the aggressively driven halfway point instrumental section. Heavy but melodic, this is Lazarus playing to its strengths.
Ensuing cut “Violent Obsessions” is of equal quality. With clashing symbols to start ensued by keyed up bass - production is surprisingly transparent - the song tempers pace but retains the classic metal proclivity and focus on the melodic. Refrain follows suit with its pointed qualities, while understated progressive qualities again reveal, as found in the galloping technical structured mentality. The tightness to the Pope and Bridge guitar team reminds of Barren Cross. Lyric snippet:
I feel a violet obsession
I want to share the peace of the Lord
It’s killing me
To see the ploughshare broken
To be beaten backing into
Beaten back into a sword
I feel a violent obsession
I feel sick when I see people die
I want to stop all the fighting and hatred
Jesus, help me
‘Cos Lord, I’ve got to try
“Silver Goddess” separates as another showstopper. Song proves a catchy, riff driven monster, with the instrumental first minute again finding Pope and Bridge shining and remaining five drawing in with catchy riffs and stark backing vocals pointing to late eighties era Bride. Once more Lazarus finds itself at home instrumentally, as narration gives way to another technically minded instrumental run.
Other choice six-minute numbers include “Mockingbird”, an atmospheric ballad to reveal a lighter side to the Lazarus songwriting abilities. Distant rhythm guitar, breathing bass and accenting keyboards play crucial roles in building upon the breathtaking scene. Am I out of line to invite comparison to lengthy Bloodgood ballads “Changing Me” and “Top Of The Mountain” (off Out Of The Darkness)?
Final six minute cut “Love Is A Crimson Flood” represents this reviewer’s choice piece. I find it takes a more accessible tone compared to albums remaining material, reflecting an eighties hard rock edge with ample doses of heart and soul vocal wise and bluesy low-end vestiges playing lead roles. Of equal note is how jazzy bass (Robins is no small talent) compels things instrumentally. The Lazarus youthful vigor brings to mind early Teramaze. Lyric snippet:
Down in my pride, I took a dive
Good in my skin, but dirty inside
The mirrors went up – I saw my sins
Then like bleach bombs blowing within
I felt His love come rushing in, cause
Love, love is a crimson flood
A healing stream of holy blood
I feel it washing over me
If I suggest the albums four to five minute material is a slight step down, it speaks more for the brilliance of that in the six-minute range. If anything, the Exegesis songs under six minutes reflect a more aggressive thrash based side to Lazarus. It begins with “Caesar Rush”, an aptly entitled expeditious piece of speed metal with spoken word vocals, relentless tempo and all the angst you could ask. If anything, Lazarus nails a near perfect raw and crisp guitar sound production wise. Lyric snippet:
Power living comes from up above
I’m living out a sacrificial love
What will count in the final hour
Is what you do in His grace and power
Humble dedication
To loving demonstration
Without hesitation
By gracious revelation
“Aquarian Conspiracy” begins pensive and ominous ahead of turning into a curtly woven slab of mid-tempo power metal. Imagine prime Barren Cross in its Atomic Arena and State Of Control glory, riveting of spirited energy and crunch-laden mentality but fully embracing a draw you in on immediate listen flair. Group’s melodic backing vocals continue to play an essential role.
Upping tempo is “Utopia”, a thrash-laden piece with decisive riffing and focuses rhythm section carrying the no-nonsense scene as shouted backing vocals speak of the exuberant. A cacophony of off-kilter voices at the halfway point give way to another shred based instrumental run. No, this one might not be catchy as some, but it proves essential all the same. Lyric snippet:
Jesus be by deliverance
From all these lies
To a world of sense
Take me, break me
Have your way Lord
Lord, I’m begging you
Jesus be my deliverance
From all these
Lies to a world of sense
Take me, break me, have Your way
I get down on my knees and I pray
“Catharsis” proves an at times thrash derivative and others straight on metal mauler. Unremitting but catchy riffs dominant the stark landscape, with the song transitioning on occasion to tempered passages intertwined with thickly woven bass but always returning to the same relentless mentality,. Interestingly, classical guitar carries the final seconds (sort of like Wytch Hazel). Regardless, a light progressiveness again rises to the surface. Lyric snippet:
I am dying, for your sins I’m dying
But it’s death that‘s dying
From the life in me
Crucified by men, Father,
Forgive them
It is finished then
I can see the end
Into Your hands
I place my spirit
Closing Exegesis are two shorter numbers in “If I Were You”, an acoustically driven minute and half, and “What A Friend We Have”, a one-minute instrumental reprise of the hymn “What A Friend We Have In Jesus”.
Of the White Metal Warriors tracks, “Do Or Die” walks a fine line between traditional and power metal with its double kick drum and double bass (guitar rhythms bring to mind Leviticus’ “I Got Power”), while “Overpower” ups tempo with speed to thrash variances aligned with swarthy backing vocals (I am reminded of another Leviticus song, “Elijah On Carmel”). Demo version to “Onto Jerusalem” is on similar level with its slower anthem like qualities and high-end vocals.
The interview in the liner notes suggests the album was not released due to the label not liking it. What is there not to like? If I were the head of a label, and a band handed me master tapes of such quality, I would not hesitate to release the album and sooner rather than later! Hence, credit Sonic Age Records for having the foresight to give Exegesis a well-deserved release along with the WMW bonus tracks. If a fan of traditional/classic metal in addition to that on the power/thrash/speed based side of things, I cannot help but give Exegesis the strongest recommendation.
Review by Andrew Rockwell
Track Listing: “Seein’ Aint Always Believin’” (6:24), “Violent Obsessions” (5:59), “Silver Goddess” (5:50), “Caesar Rush” (4:25), “Aquarian Conspiracy” (5:15), “Mockingbird” (6:03), “Utopia” (5:06), “Catharsis” (5:30), “Love Is A Crimson Flood” (6:09), “If I Were You” (1:28), “What A Friend” (1:09), “Do Or Die” (5:07), “Overpower” (4:43), “Onto Jerusalem” (5:24)
Musicians
Jonathan Budd - Lead Vocals & Acoustic Guitar
Stuart Pope - Guitar
David Bridge - Guitar
Mark Robins - Bass & Acoustic Guitar
Paul Jarrett - Drums & Percussion
