“What is the correct number of people to have in a rock band?” I have precisely one memory from my high school chemistry class, and it’s debating that question with a fellow loser in terms that were as precise as they were subjective. I don’t recall the chemical makeup of Cadmium, but I can vividly recall our enthusiastic agreement that Aerosmith’s need for two guitarists and a dedicated singer was embarrassing. There’s no way you needed five guys for “Angel.” Three, obviously, was the coolest and most noble band configuration and four was highly context dependent (acceptable if the singer also played guitar but suspicious if he didn’t). Because this great meeting of the minds took place about 18 months before The White Stripes’ hit our sliver of the suburbs with “Fell in Love with a Girl,” young Plato and Aristotle never even thought to discuss the merits of duos.
A young David Fonseca and his sparring partner amid a debate in which they embarrassingly fail to consider Darkthrone, Iron Maiden and even Steely Dan.
After spending a bit of time with French tag team Iron Slaught and their sophomore effort Metallic Torments, I’d like to rectify that. Two is, indeed, a very magic number.
But two? Two’s nice. Two feels less like a power struggle and more like a dialog between equals.
So, what’s the topic of conversation for Iron Slaught’s Nikrass (Bass) and Iron Jérémy (Guitars)? Heavy Metal, natch. Beyond those general specifics is where the band’s unique character as a duo, and the true quality of their conversation, is revealed. For me, the revelation hits around track four, “Soldier of Fortune.” After an opening trio of tracks based in rough n’ ready but mostly respectable thrash with a dash of death (in the vocals), I was ready to write off Metallic Torments as a loving but disposable riff dispenser.
But “Soldier of Fortune” is where I start to sense that the band is talkin’ their talk. In contrast to the first three tracks, which are all through-composed thrashers, this one’s pure NWOBHM, which means we get the catchiest, most Maiden inspired riffs of the album (so far), a chorus that struts into the spotlight more than once and powerful clean vocals. This is where I started to conceptualize Iron Slaught as making duo music; this type of mid-album change-up gets nixed in committee, and the singular vision of a solo artist probably wouldn’t allow it. This kind of freedom is simply the product of a really good bullshit session.
And so it goes on track five, “Condamné pour l’Éternité,” and six “Charme Funeste.” The former sports a death-thrash body and a heavy metal heart, while the latter dips its toes ever so lightly into the prog-pool. Check out those cheeky guitar jangles and how they abruptly transition back into burly, overdriven gallops.
What a foolish little thing to try! It’s the kind of thing you might struggle to get three people to agree to, but something two fellers might just convince themselves they can pull off. A fun side-effect of this quirky set of tracks is that it kind of casts the opening trio in a new light. Reflected against the rollicking “Charme Funese,” the instrumental intro “Harbinger Of Afflictions” now sounds like an overture previewing the scope of Iron Slaught’s ambition, and track two, “The Executioner,” feels a little less po-faced and monochromatic and little more like the blunt object in Iron Slaught’s widely varied arsenal.
Some listeners might experience a bit of the wrong kind of whiplash on their tour thought Metallic Torments. This isn’t Mr. Bungle or anything, but Iron Slaught switch up riffing and vocal styles in way that will charm some (count me among them) but annoy others seeking to lock into a more consistent vibe. To the latter group, I’d recommend embracing the band’s freewheeling nature as their defining feature, rather than fixating on it like a pesky bug.
Heading back to chemistry class for a moment, my fellow loser and I didn’t just waste time in class Talmudically prescribing the correct number of players for a rock band, we also spent a season of life trying to start a band of our own. Like most high school bands, we struggled to retain a consistent drummer and our practice time mostly consisted of poorly executing a cover of “Ace of Spaces” and watching skate videos. We weren’t much of a band, but we were pretty good friends. Iron Slaught actually nail both, and thus I recommend them to you, the lover of heavy metal music.
Hello, friends.
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