| Musical Style: Heavy Metal | Produced By: Lightforce & John Bosua |
| Record Label: Pure Metal / Soundmass | Country Of Origin: Australia |
| Year Released: 1989 / 2019 | Artist Website: |
| Tracks: 8 | Rating: 75% |
| Running Time: 42:37 |
It has been 30 years since Lightforce released its Pure Metal Records debut full length Mystical Thieves. Previous to that the Moorabiin, Australia based group traces its origin to the mid-eighties, when bassist Steve Rowe followed up stints in local bands Rugged Cross, Axis and King’s Image by putting together the initial Lightforce lineup. After only a year, however, the group disbanded after performing a single show and recording a pair of demos (the first featuring 6 songs and second 5) but reformed in 1987 when Rowe joined forces with drummer Errol Willemburg, vocalist Steve Johnson and guitarist Cameron Hall to comprise the second Lightforce incarnation. The more prolific unit, Lightforce v2 went on to win the Melbourne Heavy Metal Battle of the Bands competition in addition to putting out a critically acclaimed eight-song custom cassette entitled Battlezone. With Murray Adams later replacing Hall on guitar a year later, Lightforce proceeded to sign with Pure Metal Records in addition to supporting local tours with Stryper, Whitecross and Leviticus.
It would be sufficient to describe Lightforce as eighties heavy metal but along the lines of the traditional kind akin to Judas Priest and Manowar, albeit Iron Maiden is the more accurate comparison. This embodies in terms of how Rowe does a choice job emulating Steve Harris with his technical bass precision, while Willemburg proves equally adept from his intricate roll and fill timekeeping presence. Lone misgiving, on the other hand, is lead vocals in that while Johnson might be technically solid - he brings somewhat of a punk feel to his delivery - he also lacks the soaring range and power along lines of Bruce Dickinson and Mike Lee required of music of such capacity. A potential element of authenticity correspondingly is bereft from the group’s sound that a more impactful vocalist might otherwise bring.
It deserves equal consideration how similar to many young bands Lightforce experiences its share of growing pains in that Mystical Thieves is not without its share of rough edges found in what I find a couple skip worthy tracks. Throw in somewhat shaky production and the feel is not unlike initial offerings from Messiah Prophet (Rock The Flock), Saint (Warriors of The Son) and Bride (Show No Mercy): a talented young band brimming with potential that only needs a solid sophomore album to fulfill. It was not meant to be, however, in that despite having its second album written, Lightforce transitioned to thrash with death metal influences while changing its name to Mortification, which obviously is a story for another day.
Mystical Thieves re-issue history traces to 2003 when it saw re-release on Rowe Productions alongside seven of the Battlezone tracks in addition to a pair of songs from the two original demos. Fast forward to January of 2019 and Mystical Thieves is re-released a second time but on Soundmass Records with bonus material in the form of six live tracks recorded in support of label mates Whitecross, four of which the group intended for its second album. A 12-page booklet is included as well to highlight an array of previously unseen photos and flyers.
Lightforce, obviously, might not bring the licks and chops of Iron Maiden, but when it is at its best is nothing to sneeze at either. Group composes some very solid material accordingly, starting with albums opening eight minute progressive based title track, as Rowe dazzles with his dexterous bass lines and Murray sets the galloping Maiden-esque tone from an assaulting guitar riff standpoint. “Mystical Thieves” otherwise is mostly up-tempo, although it can descend into the periodic plodding moment to reflect upon the doom-like.
“Crossfire”, shorter at half the length, fades into guitar feedback prior to morphing into a fast-paced hard rocker. Energy levels exponentially elevate in the process, as guitars literally glue to the front of the mix - “Crossfire” rates alongside albums heaviest - while Willemburg pulls-out-all-the-stops with his complex timekeeping. Coming to mind as a result is Atomic Arena Barren Cross, albeit without the big budget production polish.
“City Streets” represents third creditable track in a row to open Mystical Thieves. It starts in meticulous fashion as guitars hammer in and out of the mix only to take off at once at a near speed metal clip - romping, buffeting and aggression as it gets - but impressively can stop on a dime in slowing to a near crawl, as found in the next to remorseless refrain. Multiple instrumental interludes further reveal the Lightforce progressive side.
First of two songs I skip over ensues in “Metal Missionary”. Despite yeas of repeat listen, I have never grown to embrace this one, with its horribly clichéd title, quirkily offbeat rhythms and overbearing ‘barking dog’ backing vocals to continuously repeat the ‘metal missionary’ title ad infinitum. That said, credit the group for unleashing its trademark energy not to mention the cool instrumental fade out (to feature bluesy guitar).
“Children Of Sorrow” touches upon a melodic metal basis, revealed from how it backs from much of the up-tempo angst to its predecessors as it upholds a corresponding moving and emotional demeanor to bring to mind Bloodgood. Melody fittingly elevates, noting the engaging refrain not to mention the raw edged but thickly woven harmonies to play a dominant role. Soloing is of the blinding quality.
“Searching” dominates as a power metal monster. It proves keyed up with its varying time signatures, at a drop of a hat transitioning between mercurial moments to feature lightning like riffing and brazen drum roles and others that slow in trenchant fashion as pulsating bass fills the back end. The shouted ‘searching’ backing vocals further intensity the precocious scene.
“Fast Lane” represents second song in which I struggle. Whereas not terrible, it comes across somewhat basic and crude - perhaps ‘forced’ is the word I am looking for - as a straightforward metal piece lacking the dominate hooks and vital energy distinctive to the better Mystical Thieves material. I tend to pass, although I can see others embracing it.
Seven minute “Babylon” is not so much albums best track as it potentially challenges for one of the eras best. Touching upon the progressiveness to albums title track, “Babylon” opens its first minute and a half to narration from Revelation 17: 1-18 over a bedrock of eerie keyboards as guitars gradually build into the mix. Remaining five and a half pummel in bombastic form, technical in terms of sweeping riff action and subtler faster to slower intricacies but also distantly melodic from how it fails to come across heavy handed despite the darker, apocalyptic vestiges at hand. Narration from Luke 24:20 precede a run of hammer on driven soloing.
The bonus live tracks, understandably, present with some rough edges as an obvious soundboard recording but also serve to highlight four previously unreleased Lightforce songs. Opener “Trinity” stays truest to the power/progressive Mystical Thieves sound with its emotional edges and pulsating bass aligned with periodic speed metal like outbursts.
Remaining three provide foreshadowing for the more aggressive stance later taken by Mortification. “Back To Basics” almost has a punk like allure with its chaotic underpinnings to feature heavy hitting (almost abrasive) backing vocals, while “Epidemic Of Injustice” guarantees to melt the face with its raw, thrash-laden aggression. “God Rulez”, all two minutes of it, is another heavy hitter as it unceasingly repeats its title in caustic fashion. Also appearing are live versions to “Children Of Sorrow” and “Metal Missionary” that do not stray far from their studio counterparts.
Mystical Thieves is better than I remember it to be - at least when factoring its strong material - or at the very least deserves more credit than some reviewers have given it. A good measure of said improvement attributes to the Soundmass re-mastering, which allows for the cleaner and fuller sound when placed alongside the Pure Metal version. If Lightforce had come up with a full album of material in similar vein as “Mystical Thieves” and “Babylon” they would have a potential classic on its hands, keeping in mind deep cuts “Crossfire”, “Children Of Sorrow”, “City Streets” and “Searching” are all solid. Overall, poor mans Iron Maiden might be overstating things, but if Lightforce had stuck around to record a couple more albums its ceiling would present with little in the way of limitations.
Review by: Andrew Rockwell
Track Listing (Mystical Thieves): “Mystical Thieves” (8:05), “Crossfire” (4:16), “City Streets” (4:37), “Metal Missionary” (5:26), “Children Of Sorrow” (3:57), “Searching” (5:31), “Fast Lane” (3:53), “Babylon” (7:03)
Track Listing (Live In Sydney, 1989): “Trinity” (5:59), “Back To Basics” (4:025), “Children Of Sorrow” (3:27), “Epidemic Of Injustice” (5:28), “Metal Missionary” (4:13), “God Rulz” (2:07)
Musicians
Steve Johnson - Lead Vocals
Murray Adams - Guitars
Steve Rowe - Bass
Errol Willemburg - Drums
