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Garagedays - Here It Comes

Garagedays
Here It Comes
by Dave Nowels at 23 December 2018, 12:40 AM

GARAGEDAYS is an Austrian band that was formed by frontman Kern Marco in 2005. With a few line-up subtractions and additions over the years, the current line-up has been in place since 2008. “Here It Comes” looks to be the band’s third full-length release, and it’s an impressive monster of European Heavy Metal with more than a hint of Thrash.

Opening the album with its title cut, “Here It Comes” we’re immediately greeted with the pounding drums and bass grooves of Mai and Eder. Even more on point is the dual guitar riff that immediately gets your head moving. Marco’s vocals are clean, yet maintain enough of a sinister edge to completely compliment what the band is laying down. There are dark whispers, the occasional growl, and soaring ‘Air Raid’ Dickenson like moments. Auer’s leads come at you here like a train’s headlight emerging from a mile long tunnel. They’re distinctly brighter, and add tremendous clarity. It’s a really good song. Next up, we have “Turns to Black”, which creeps along slower and more meandering like a wraith seeking souls. Marco again utilizes his vocal range to really stress the oppressiveness of the song here. Ever present are great rhythm riffs and a thunderous low end ever maintaining the pace.

Coming next is “The Beginning and the End of it All”. This one starts slow and low. It sounds like Marco uses some layered vocals for harmonies in the intro of the song. This one maintains a slower pace, though it manages to use some clever tempo changes. Auer impresses again with his solo. More of a straight Heavy Metal solo that as indicated before, adds a brightness and contrast to the darker theme. “Devil” and “I Have Seen” follow, and while there is no real deviating from the formula, there’s really no need. What GARAGEDAYS is laying down here is pretty effective. In fact, “I Have Seen” is probably my favorite track. There is a very strong NWOBHM feel throughout. Galloping rhythms and lyrical storytelling that just screams a MAIDEN influence.

On the contrary, whatever point the band tried to make with “Paradise Lost” was lost on me. A ballad like track, musically it seemed mis-jointed and even poorly mixed. The song really interrupts the flow of the album so far, and I’d probably skip this track every time. “Reptile” does its best to return us to what the band does best, but while more on track, it falters a bit for me as well. Auer’s solo does manage to draw me back in, and the second portion of the song seems vastly better. “Lemmypsilon” is…umm….odd, but it works.. Nice little bass run, accentuated with an acoustic guitar. If the title didn’t give it away, it’s a fine tribute to the great one.

The closing stretch brings back the edge that’s been somewhat missing in the back half of the album. “The Sword” returns the ominous feel and power chords that made the first half so enjoyable. The final track is “Philosophy”, and is a really sweet instrumental. Quite good. Overall, the highs win over the lows. “Here it Comes” is a strong effort. GARAGEDAYS let their influences shine through, but they never overpower and they constantly evolve and change it up song to song. Sometimes even stanza to stanza. They’re a band to keep an eye on for sure.

Songwriting: 7
Originality: 7
Memorability: 7
Production: 7

3 Star Rating

Tracklist:
1. Here It Comes
2. Turns to Black
3. The Beginning and the End of it All
4. Devil
5. I Have Seen
6. Paradise Lost
7. Reptile
8. Lemmypsilon
9. The Sword
10.Philosophy (Instrumental)
Lineup:
Kern Marco – Rhythm Guitar, Vocals
Rene Auer – Lead Guitar
Dominik Eder – Bass Guitar
Matthias Mai – Drums
Record Label: Independent
     


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Edited 30 November 2022
 

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