The album opens with Belly of the Beast, a fast-paced old-school heavy metal track that recalls the band's early days. Diamond Head made their name with songs like this and, like It's Electric before it, Belly of the Beast is a call-to-arms that gets things underway here nicely. A strong riff from Tatler and fellow guitarist Andy Abberley drives the song forward, and the pace never really lets up - with long-time drummer Karl Wilcox propelling everything forward with a punchy beat. From the off it is clear just how much like classic Diamond Head this album sounds. The self-titled album from 2016 sounds like a warm-up in comparison to this release, and the stand-out performer throughout is Andersen. It is amazing just how much like the band's classic frontman Sean Harris he sounds, and he seems to be what the band have been missing since their 2000 reunion - with no disrespect meant to Nick Tart who did an admirable job fronting the band for a number of years. Andersen has also produced the album, and has made sure the production style sounds like the band's early days. There is a raw warmth to the album, and this fast-paced opener really showcases that style. A catchy chorus sees him let rip, but it is the energy of the piece that really hits home - and sets the tone for the rest of the album. The Messenger is more of a mid-paced track, with a catchy Tatler riff opening things up, before an extended instrumental intro sees plenty of soaring and flashy lead guitar work. Diamond Head always had more complex and interesting arrangements than many of their peers, and that is showcased here too. The intro is quite lengthy, before the song settles down into a groove-driven verse with some prominent bass playing from Ashton and an expressive vocal display from Andersen that sees him hit some pretty impressive high notes. After the fast-paced opening, this song acts as a contrast, with strong rhythms and hard-hitting grooves being the name of the game here. There is still room for a catchy chorus too, which is more of an extension of the verse than a true chorus, but it sees Andersen whipping up a memorable refrain that sticks in the brain. The album's title track opens in a more restrained fashion, with a gentle bassline and chiming clean guitar chords that form the basis of the opening sections. Andersen sings atop this with a little less gusto than usual, but it fits the quieter feeling of this opening portion. The song is one that ramps up as it moves along however, with heavier rhythm guitars joining the fray occasionally, culminating in a chorus that feels full and beefy without feeling like the song has ever really changed. This subtle growth is a big part of what makes the song enjoyable, as it has a smouldering power that creeps up on you without ever going all out with sledgehammer riffing or the usual heavy metal tropes. This is again reminiscent of some of the songs found on the band's early albums. As with many of the band's songs, there is an excellent guitar solo here towards the end. I assume that Tatler is to be thanked for it, but I know that Abberley also occasionally solos - but sadly the CD booklet does not specify who plays each solo! The effort here is a little slower than many of the speed-fests found elsewhere, but it fits in well with the mood of the piece, and is the icing on the cake.
Shades of Black opens with a lone Wilcox drum beat, before Tatler and Abberley launch into a slow, evil sounding riff that sounds nice and heavy. The riff has a certain Black Sabbath quality to it, but it is not used endlessly throughout the song, and is instead only brought out occasionally when the song needs a jolt of power. The verses are a little more low-key, with a strong bass presence and the guitars instead joining forces for a intricate little melody that forms the perfect basis for Andersen's somewhat Robert Plant-esque vocal delivery. As with many of the band's songs, there is something of a progressive influence here too - with Ashton often taking over with the bass for a beefy riff, before the guitarists take things in another direction with some off-kilter riffing or bursts of soaring lead work. It is these twists and turns that have always helped Diamond Head to stand out from the crowd. The two-part The Sleeper follows, with the short atmospheric prelude section - with its rousing spoken word delivery - leading into the song proper with its slow, melodic guitar and bass intro section. The gentle opening does not last long however, as one of Tatler's trademark riff soon kicks in - as Wilcox's percussive drumming and some soaring orchestral arrangements add subtle symphonic touches. After the rawer opening few songs, this song really sees the band ramping things up a notch and go all out for a more epic delivery. The orchestral arrangements, courtesy of Andersen - who is quite the multi-talented asset to this band, really add to the depth of the song, and help to augment Tatler's massive riffs with a certain grandness. Over the years the band have written a few of these lengthier songs, and this is one of the best representations of that sound - with murky slower sections sitting perfectly side-by-side with driving heavy metal riffing and shredding solos. I particularly like the last section of the song which sees the pace really increase with some excellent drumming from Wilcox. It brings everything to a head, with the orchestrations really upping in their dramatic quality before everything comes to a crashing, powerful close. Death by Design is a simpler track, and recalls the fast-paced style of Belly of the Beast from early in the album. This is a song made for being played live, with catchy guitar lead riffs, and a simple chorus which Andersen delivers with the controlled power that fans of the band will have come to expect by now. He really is the perfect frontman for the modern Diamond Head line-up, and he seems to be a big part of their recent rejuvenation and willingness to record new albums again. He always sings for the song, and when he lets rip it is because the song needs him to do so. He never showboats here, and instead just lets the songs speak for themselves. His catchy melodies here are a big part of what makes the song so fun to listen to - as this is a song that focuses more on the simple aspects rather than more-progressive arrangements.
Serrated Love is a little stranger than much else contained on the album, as it focuses a lot on Ashton's bass and the grooves that he can come up with rather than on big riffs. As a result the song feels different to the rest of the album, but helps to showcase Ashton's playing on his first album with the band. The verses mostly push the bass right to the front, and it is his playing and basslines that really drive the song. The guitars add colour here and there; and explode with power into the fuller choruses; but mostly this is Ashton's piece. This is the case however until about two-thirds of the way through when the song really changes and launches into a big, lengthy guitar solo that changes the tone of the whole song. The bass and rhythm guitars now chug out a simple melody, while the lead guitar dances atop with fluid melodies and licks. The change is slightly jarring, but the strength of the guitar solo makes up for the sudden change, and this only characterises the band's willingness to play with arrangements further - as does the gentle classical guitar outro. The Phoenix is a heavier mid-paced piece with a staccato, stabbing guitar riff that drives the piece and an expressive vocal performance throughout. Despite the simpler overtones, there is still quite a lot going on here. Acoustic guitars are mixed into the background of certain sections to give the song more depth, and Ashton's bass once again really cuts through the mix at times for that abrasive low-end sound. This is the only 'proper' song on the album not to be co-written by Tatler too, with the main riffs instead coming from Abberley. Considering Tatler is the only original member of Diamond Head left, it is unsurprising that he also drives the songwriting, but Abberley is a more than capable foil for him who also contributes the occasional solo and piece of songwriting to the band. I would not be surprised if at least one of the solos here was his, and it is great to see him stepping up here and taking the lead for a song. Until We Burn is the album's closing track, and it maintains the quality that has been set throughout with a slow-burning power that again channels the band's more progressive side. The orchestral arrangements are quite prominent again here, with the whole song constantly surrounded by a halo of strings. As a result the song does not feel as heavy as many of the other pieces here, but instead feels grander and more reflective as a result. Andersen's vocals are as good as ever, but for me it is the guitar playing that really stands out here, with lots of little lead breaks and solos throughout to really keep things interesting. Tatler, in my opinion, has always been one of the most underrated guitarists in metal - and he showcases here why he is held in such regard by bands like Metallica and Megadeth. His inventive playing makes the song what it is, and helps to draw the album to a complex, satisfying close. Overall, The Coffin Train is an excellent album from Diamond Head - and one that finally starts to rival their best work after a few false starts. Diamond Head are in the best place they have been for a number of years now, and it would be great to see them capitalise on this momentum somewhat as I think this is an album that many in the metal world would enjoy if they had a chance to hear it.
The album was released on 24th May 2019 via Silver Lining Music. Below is the band's promotional video for Death by Design.
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