There’s a lot to be said for taking the proverbial bull by the horns, as British quartet Kaine have done by self-releasing their debut The Waystone after being dissatisfied with the types of deal they were being offered. While it is easy to say they are being naïve, it shows a passion and a belief in their product that would serve more established bands well to tap into. However, are the labels, who are struggling to cover their own costs let alone spunk biscuits over bands that aren’t a guarantee, right to hold back and hedge their bets on Kaine?
Opener ‘Iron Lady’ suggests the band are right to have that self-belief; a raucous slice of NWOBHM magic that could well be a stalking partner of ‘Prowler’. But even on such a strong opener, flaws are exposed as Rage Sadler‘s vocals are simply not strong enough to lead a professional band. While weaker vocals were endearing 30 years ago, the Manilla Road approach no longer flies and having such a key part of a band not up to the standard required seriously undermines the talent and technique on display in all other areas. Sadler and guitaring counter-part Anthony Murch can clearly play, while Dan Mailer’s only bass-flaw is his inability to know when less is more, all over (or under) most tracks like the most contagious of rashes with his Steve Harris runs and fills.
The rest of the album showcases a post-Brave New World (EMI) Iron Maiden meets Rush bent, with Kaine also working in a concoction of traditional British metal and prog, with some pleasing sections calling to mind Fates Warning.
However, here is the crux, sometimes the labels don’t come a-calling because a band isn’t good enough, or just isn’t ready yet. ‘Iron Lady’ shows that the potential genuinely is there, and there really could be an impressive album further down the line, but too often the song-writing, despite several of the parts being impressive, is woolly or meandering, with choruses falling flat compared to their peers. The band needs to work on either being snappier, making parts more memorable and each song more distinctive, or on studying and understanding the more progressive elements they showcase, and how to use them to their advantage, to make them a valid USP in a way that sets them apart.
5.0/10
STEVE TOVEY