For a band with such deep roots in the NWOBHM movement, Tokyo Blade sound refreshingly urgent on their latest release. They’ve long since outgrown the confines of that early label, embracing the broader spectrum of Metal’s evolution and folding its various elements into a riff-heavy, dynamic package. The production shines, especially when it comes to the guitars, which are the undisputed heroes here. Alan Marsh’s vocals, though occasionally over-processed, still deliver the goods, and the mix might have benefited from bringing his raw, unadorned voice to the forefront. The drums, too, at times betray the sterility of modern digital production, but it’s a minor distraction in an otherwise stellar effort.
The opener, Feeding the Rat, proves Tokyo Blade are well aware of Metal’s modern trends. With a blend of alternative influences and thrashy overtones, the track sets a fierce tone. The slide guitar breakdown adds an unexpected twist, and the three solos are unapologetically pure Heavy Metal, brimming with technical brilliance and infectious energy.
Moth to the Fire, the first single, leans into the band’s melodic sensibilities, echoing the glory days of prime-era Ratt or Dokken. It’s a nostalgic anthem that would have dominated the airwaves in another era. Today, it feels like a love letter to a time when guitar-driven rock ruled the charts.
The album’s epics, Man on the Stair and The Enemy Within, showcase Tokyo Blade’s darker, more atmospheric side. Man on the Stair weaves arpeggiated riffs into a cinematic tapestry, evoking shades of W.A.S.P. and even Megadeth in its construction. The creeping tension gives way to a spectacular solo, a fitting centerpiece for a song as layered as this. Meanwhile, The Enemy Within dips into alt-metal territory, its brooding energy paired with a sweeping, dramatic structure that feels almost theatrical in scope.
Going With the Flow shifts gears with a ballad that expertly straddles NWOBHM roots and more accessible, melodic territory. Imagine Maiden meeting the Scorpions—catchy yet epic. The thunderous drums propel the track forward, while an emotional guitar solo blooms into a thrash-inflected, progressive breakdown before circling back to its soaring chorus. It’s the kind of track that balances restraint and excess beautifully, delivering both power and poignancy.
The 47 surprises with its inclusion of electric piano, lending an unusual neoclassical flavor to its melody. A recitation in the middle section sets the stage for Steve Pierce’s thunderous drumming, paving the way for an explosion of harmonized guitar solos. There’s a Power Metal feel here, yet the track avoids becoming overblown, staying grounded in its engaging central melody.
The Devil in You channels a groove-metal swagger, with a punkish, gang-vocal chorus that recalls the attitude of Skid Row. It’s a rebellious, head-nodding romp that adds grit to the album’s flow. In contrast, Soldier On feels steeped in Thin Lizzy’s storytelling tradition, conjuring the sound of what Lynott and company might have produced had they survived into the late ’80s. Lyrically and musically, it’s a touching homage wrapped in melodic finesse.
On The Six Hundred, Tokyo Blade dive headlong into War Metal territory, delivering a track with all the bombast of Manowar but tempered with their own melodic flair. We Burn steps unapologetically into the ’80s Metal arena, its staccato Judas Priest-style riffs paired with an earworm of a melody. It’s a clear standout, tailor-made to be a lead single, though in today’s world, one can lament the lack of a platform for tracks like this to reach wider audiences.
The album closes with Ramesses, a sprawling, mid-tempo epic driven by a Middle Eastern-inspired riff. Shades of Powerslave and Gates of Babylon echo in its structure, building toward a contemplative middle section that bursts into dazzling guitar work. It’s the perfect summation of Tokyo Blade’s strengths: melodic, heavy, and evocative. The only misstep is the fade-out, which feels like a missed opportunity for a more climactic conclusion.
For a band so distinctly British, the album sounds strikingly American—and that’s no criticism. It doesn’t reinvent the Heavy Metal wheel, but in a musical landscape where many of Metal’s heyday acts have faded into obscurity, Tokyo Blade delivers a record brimming with life and purpose. Unfortunately, a release of this caliber will likely fly under the radar, overlooked by much of the rock press and Metal community. With virtually no chance of commercial success (we’d love to be proven wrong, but let’s be realistic), the band seems focused on having fun doing what they do best and bringing us along for the ride. This is a kick-ass Metal album, unapologetically true to its roots—and in 2025, you can't ask for much more.
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