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Taberah - 'Sinner's Lament' http://rocktopia.co.uk/media/reviews/photos/thumbnail/200x200s/b4/c0/91/Taberah-Sinners-Lament-4-1516737635.jpg Hot

Added by Central Electronic Brain     January 23, 2018    
 
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A roller coaster ride of highs and lows.

You could easily class Taberah as "big in Australia" – one of an increasingly large wave of contemporary bands from Down Under that seem to be emerging and spreading the word worldwide. With the likes of Airbourne following in the footsteps and picking up the mantle of an ageing AC/DC, the currently thriving Antipodean music scene has arguably never been as healthy.

Taberah themselves have been plugging away for over a decade with the band being based around the strong musical core of Jonathon Barwick and Tom "Bam Bam" Brockman. Their sound? A strong Brit influence, include the traditional Heavy Metal signature of Iron Maiden and Black Sabbath, alongside, naturally, the Rock 'n' Roll swagger of AC/DC that's blended with the tongue-in-cheek theatrics of Queen and Queen-a-likes The Darkness. It's quite a concoction and one that has resulted in two full-length albums and a decent live reputation translating to their recorded output, the latest of which is a roller coaster ride of highs and lows.

Fireworks - The Ultimate Magazine For Melodic Rock Music

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'Sinner's Lament' arrives on the repentant title track and one of those grand squealing Queen trademarks heralding twenty to the dozen rampant riffing bar a pause for a heroic middle section. It's a signature that forms a common theme to the album with drummer Brockman relentlessly testing the high-energy endurance batteries. They may sing of seeing the errors of their ways and the price to pay, but that comes with a set of tracks that's a testing onslaught.

'Child Of Storm' takes a break from the breakneck pace to swagger a while, yet feeling somewhat brow beaten and thwarted, all of a sudden, 'Dance Of The Damned' soothes with an unexpected acoustic guitar lead; much more restrained and healthier for it. Interest piqued, the resurgence continues after a good half-time team talk with the following 'Crypt', all menacing and chunky and hey, even a hint of excitement in the Metallica-spiced verses. The balance is almost redressed with the grand seven minute plus 'The Final March Of Man' with dynamics and mood shifts wouldn't be markedly out of place in the Maiden songbook, until a final deduction for taking the increasingly common step of including a high-profile (bonus) cover version. 'Hotel California', a song which frankly you don't mess with, has a faithful opening before they let loose with a melody-free rhythmic pummeling that could have had any words sang over it – strewth!

Mike Ainscoe

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