Sadly, this restrictive retro mould leaves the band trapped in a time warp-like bubble.
Shameless Iron Maiden worship plagues this revivalist outing from its upbeat intro to predictably showy conclusion. Despite a promisingly aggressive namesake and recent formation, Fury UK fail to rekindle the country’s jaded metal scene with an outdated mix of crude riffs and repetitive vocal hooks.
Although the trio follow a mindless flock of old school-style copycats, ‘A Way Of Life’ is drawn from unmistakably expert musicianship which would be better invested in more forward-thinking material. From impeccable shredding to thrash metal grooves, Fury UK’s third album is packed with sufficient raw material for a potentially unique end result. Sticking exclusively to traditionalist trends, the outfit play safe with simplistic song structures featuring rehashed melodies and attention-grabbing solos. Relentlessly mid-paced and monotone, each samey offering amounts to dour, unvaried listening. True to its bicep-flexing title, ‘Show Of Force’ is an uncomplicated offering tailor-made for listenable live entertainment. With its token solo and authentically minimalist guitars, ‘…Force’ showcases a string of clichés that resurface across Fury UK’s latest, high-volume effort.
Adopting a marginally progressive angle, ‘Run Away From No-one’ breaks the tedium ever so slightly with layers of seething bass and soaring vocals. ‘The Remainder’ follows suit with similarly promising content, shifting rather abruptly from acoustic chords to dual, thrash-tinged guitars. However, unnecessary repetition dilutes the latter’s imaginative appeal as the track clocks up an epic-length time span. Frontman Chris Appleton completes the assault with a vocal swagger that fits well with ‘…Life’s’ equally infectious instrumental elements.
Though there’s an undeniable demand for nostalgic rock, Fury UK illustrate drastically limited personality and innovation, opting for a generic sound that will no doubt receive gushing approval from genre fans and close-minded critics. Sadly, this restrictive retro mould leaves the band trapped in a time warp-like bubble, allowing little room for individuality or improvement.
Faye Coulman
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