YO! The JAR tends to like the New Wave of British Heavy Metal sound. This band is inspired by that 80s sound and it shines brightly! Check it out!

Now this is not exactly a unique band name since I’m aware of at least two other “Eliminators”, but this one is from England and been around for about a decade. Similarly as to the first review of 2022, I was clicking around looking for something that struck my interest early on in this new year.

They are from England and stick in that Iron Maiden/Judas Priest New Wave of British Heavy Metal sound. I’m interested to see if they stick in the classic Heavy Metal sound, or if they put their own spin on it. Let’s get to the album!

• Artist: Eliminator
• Album: Ancient Light (2022)
• Label: Dissonance Productions
• Total Track Time: 50:43

Arrival it definitely strikes you in the face with that Iron Maiden kind of vibe. But the fun this about halfway through, they solo out the bass to lead into a great dueling guitar instrumental section. It doesn’t have the Maiden Gallop but it feels more like old Kill ‘Em All Metallica in the approach to how they put that together. Really rocking opening song with great guitar parts. Silent Stone opens with a very prominent Bassline complimented with just a quick guitar flair and then into more of that Maiden-esque sound. I really appreciate that the dual guitar parts are more harmonic and less lead trades. They complement each other very well and the rhythm section ties it all together beautifully. So far these first two songs feel like they were ripped out of time from Iron Maiden’s cutting room floor, but that’s not really an insult; because I’m referring to good Maiden. Like Somewhere in Time, No Prayer for the Dying, Fear of the Dark; that era. So not the 80s peak, but still notable Maiden.

Ancient Light starts a little more erratic and then goes into a slower ballad like delivery before the guitars start to drive the tone and tempo back up to the established energy level of the album. While the instrumentation really does stay in league with the band I keep referencing, the vocal tone the singer takes feels more like Geoff Tate from Queensryche until we get to a breakdown and he turns up the head voice and vocal fry usage like 80s Bruce Dickinson. Goddess of Life is the first song to really utilize that Maiden Gallop in the instrumentation. It does flip the arrangement from the last song where it starts off heavy and galloping and then really slows down to this epic moment when the guitars kick in for their duel and reignite the tempo. Only real complaint is they stay in that gallop for so much of the song, the tempo change is the only really intriguing part of the song, and the rest almost becomes a metronome boring me just a little bit. The Sculptor of the Stone Lady well they got their naming conventions from either Iron Maiden or Nightwish. So this is at least very on brand. One of my favorite aspects of these first few songs, is how audible the basslines are. They keep things moving, lock really well with the drum for the rhythm section and too often do bass parts get lost in the mix (I’m looking at you And Justice for All). This song also has a little flamenco guitar break similar to Marty Friedman’s in Holy Wars. The difference is the break actually bridges into a verse with the adjusted tempo, they come out and adjust the tempo again to the swaying almost rock anthem sounding instrumentation. I’m not gonna lie, all of the small changes really had me feeling some Dream Theater vibes, but it was all done really well. They’re just this great building flourish to one final line and then the song ends after a little more noodling. Damn fun song.

Lord of Sleep, Dreammaster someone call Dokken, we need the Dream Warriors! Not really a lot of places to go with breaking this down, the lyrics play in this high fantasy section, so it’s cool and it has many of the similar elements from previous songs with tempo changes, guitar duel and stays driving but the drummer does a much better job with fills to keep the song engaging and not hypnotizing. The Library immediately, I got some King Diamond vibes. From the simple yet ominous title to a quicker opening before steering back into the ominous haunted feeling. But the guitar tone while still very Maiden, reminds me more of like a Welcome Home. And when it picks back up about 2/3rds of the way through the song, again that Maiden/Diamond mixture really just resonates with me. It’s a well put together song and paints great imagery. Mercy definitely using much more vocal fry technique, this sounds more like later 90s Dickinson where it’s going for a heavier tone instead of the grandiose epic vibe. While not bad, the lyrics not being overly enunciated for the sake of using fry and the instrumentation not being anything creative, it falls into that ‘kinda boring’ vein.

Foreverless so a made up word is either going to be a poignant song, or irritating. While it takes about 50 seconds for the lyrics to kick in, it switches things up 2 or 3 times and then goes into a straight Iron Maiden epic sound. We mean like more current Maiden, Benjamin Breeg comes to mind. But they keep the rhythm rocking, the drum crashes and fills mixed with a proper amount of falsetto and fry actually do drive this song well. It’s pretty cool when we get about halfway to a small guitar solo before the story of the song switches to more of the Maiden gallop and what could be interpreted as a glorious resolution. The Nightmare of Aeon let’s see if they are using Aeon to mean life or if they’re just really big fans of Final Fantasy 10. This takes a demonic almost approach, with church bells, a trudging tempo and what sounds like drowned out choral backing vocals. So it’s really hammering down on the dark and foreboding vibe. We get a nearly listless feeling from the guitar solo as it bridges the verses together. We go from an implied spiral to slowly picking up steam back into the Maiden-esque gallop and power, even with an audible fret slide. Hitting the last line if “Nightmare of aeon…” as the song just fades is a nice touch.

So I’ve seen a couple comments and I can’t help but agree; that this album is what Senjutsu could have been. We get the Iron Maiden album we deserved last year. Eliminator does a great job at not dragging on too long, even songs that had that longer epic feel, quickly came to fruition with the longest song being Foreverless at 6:31. That may not sound short, but when current Maiden likes 9+ minute songs…6 and change is short as hell. But what does this all mean? The album is really damn good. I may have started to get a little bored at times, but nothing was egregious or terrible.

With all that said, if you like Iron Maiden you’ll love this band. Give it a spin!

Final Judgment: 8.1/10