To no one’s surprise, Coven Japan does not surpass the works of time-tested, riff-imitated classics. That doesn’t mean that Coven Japan can’t be fun, though, and that element of their 70s rock, 80s heavy metal stained sound shines through on Earthling’s most driving cuts (“Land of the Rising Sun,” “Apocalypse,” “Lost Humanity”). And among these tracks, which can remind me a little too much of hall of fame metalworks in riff identity for comfort (“Land of…” – “Aces High,”2 “Lost Humanity” – “Heading out to the Highway”), there lies the speed-driven, punky ambition of early Loudness and Anthem albums to keep Earthlings from being pure NWoBHM pastiche. In the same vein as their countrymen, Earthlings too possesses a warm, decently spacious production with crispy edges—not as clear and biting as the European bands that pioneered the sound. But that’s OK, this kind of louder, rawer construction channels the same windows down, knob-cranked attitude as you would expect from proper heavy metal.
Of course, as is the curse of many Japanese bands playing with this throwback temporal mindset—Significant Point and Risingfall come to mind—the vocals often can pose a hurdle. And, in a form true to this troubled expression, these issues come about most when the band dials back speed for ballad territory, the intro to “Night Flyer” posing the most challenging earuption of the run. The sing-song harmony has a quality to it that is fitting though, same with the quasi-ballad title track that follows. But really vocalist Taka’s wails shine best against an urgent bassline, jangling chords, and searing lead melodies (“What Goes Around Comes Around, “Apocalypse”). 2023 doesn’t need any more ballads.
What it does need more of are the rollicking, guitar-fueled excursions that Coven Japan brings to bookend the lesser clips throughout Earthlings. Good albums start with a bang, and the one-two burst of “Land of the Rising Sun” and “What Goes…” pack that same old school punch that you would find on scrappy classics like Iron Maiden3 or Fly to the Rainbow4 (Scorpions), right down to the leads that swell from thin amp pull to distortion flurry for maximum impact. The popping snare can get in the way from time to time, being one of the sounds borrowed from 80s and not in a great way. But when it comes to numbers that feel more of that time, the Satan-leaning “Apocalypse” or the stadium-ready “Return of the Souls,” it works well against loud riffcraft and bouncing, bluesy grooves. That overdriven heft helps the to-the-point closer “Lost Humanity” flourish in its reverb-soaked chorus chants and snappy twin-lead breakaway.
Coven Japan makes their fair share of missteps throughout this debut full-length outing—the repetitive epic “To Sanctuary – March for the Voiceless,” the over-balladization of a couple of choice tracks—but they do so with feet planted and volume set to rock. For an album that borrows so much from the elders of the halls of metal, Earthlings lands with scrapes and bruises of character from each stumble and success. To put it plainly, Coven Japan has heart and it pours through in every note, which goes a long way in pushing through some of the less-than-stellar moments. And did I mention how absolutely fantastic the cover is? If I remember nothing else of this later, I will remember lady demon with laser eyes. Likewise, if Coven Japan remembers tomorrow is a new day to shine, and that this outing is but a point of entry into future fan’s ears, then they’ll realize there’s no turning back on this path of heavy metal.
Rating: 3.0/5.0
DR: 7| Format Reviewed: 320 kbps mp3
Label: No Remorse Records
Websites: coven.site | coven.bandcamp.com | facebook.com/coven.japan
Releases Worldwide: November 24th, 2023
