Saxon's 'Carpe Diem' - Album Review

If you were to look up the word 'consistency' in the dictionary, you would probably find a picture of the British heavy metal five-piece Saxon. The band, who formed back in 1977, have been cranking out album after album of strong material since releasing their self-titled debut album in 1979 - and they are a favourite of many as a result. For a band who now has 24 studio albums (including last year's covers album Inspirations - which I have not heard), the quality of those 24 releases is consistently, and perhaps surprisingly, high. Bar a couple of dodgy albums in the late 1980s, the name Saxon has often been a mark of quality - and that is doubly the case when you consider the strength of their recent output. I started listening to the band properly in around 2009 or 2010, so my first new Saxon album was 2011's Call to Arms. I saw the band twice around that time too, once just before the album came out and then again on the album's tour proper, and it was those live shows and the sheer energy of Call to Arms that made me a Saxon fan. Ever since then I have seen the band live a few more times, and have amassed virtually all of their studio albums (bar Inspirations and 1997's Unleash the Beast - which seems hard to track down for a sensible price). As such, they are regulars on my iPod - with both their classic albums of the NWOBHM era and their recent run of standout releases being spun often. As much as I love the band's older albums, however, it is their more recent work that I tend to gravitate towards. Their last album of original material, 2018's Thunderbolt (which I reviewed here), was one of my favourite albums of 2018 - and is also one of my favourite Saxon albums. They have released a lot of great stuff over the past couple of decades, but for me Call to Arms and Thunderbolt sit at the top of the tree. I love all of the band's albums, however, even the dodgy late 1980s ones, so the release of a new Saxon album is always going to be exciting. When a band as consistent as Saxon release something new, though, I often wonder if it is going to be the one to break the spell - but Carpe Diem, Saxon's twenty-fourth album which was released earlier in the month, is another slab of quality heavy metal. They made their fans wait, though, as the gap between Thunderbolt and Carpe Diem was four years - the longest gap between original Saxon albums. Four years is not a long time in truth and the COVID-19 pandemic probably did not help matters; but the album was certainly worth the wait. What has been interesting me, too, is the overall reaction to Carpe Diem. Lots of reviews have said that it is the best Saxon album for many years, and it makes me wonder where all of these reviewers have been for the past decade (at least). Carpe Diem is not the best Saxon album for many years, but that is only because of the high quality of Saxon's output generally. For me, Carpe Diem is business as usual for Saxon - and that equals a great heavy metal album. I am not sure that it quite reaches the heights of Call to Arms and Thunderbolt, but it is packed full of anthems made to be played live - and performed by a band who have no right to sound this fired up after over 40 years.

The great thing about Saxon's albums, too, is that they generally do not outstay their welcome. Saxon understand the benefits of brevity, and as such still generally make albums that can easily fit on two sides of vinyl. Carpe Diem is no different, and its 10 songs race by in just under 45 minutes. The album's title track kicks things off, and it is an upbeat, hard-hitting anthem of the kind that Saxon pull off so effortlessly. There is a little bit of an atmospheric keyboard intro to build tension, but when Nigel Glockler's drum barrage kicks in the song begins proper - while the chugging guitars of Paul Quinn and Doug Scarratt lay down a simple, yet snappy, riff. For me, the song is probably the heaviest opening song to a Saxon album since 2013's Sacrifice. Saxon tend to open their albums with a mid-paced anthem these days, which is usually effective, but Carpe Diem (Seize the Day) is fast-paced and uncompromising. Instead of going for an anthemic chorus, the song's main hooks are are almost thrashy - which fits in nicely with its overall pace and hard-driving nature. It is great hearing the band sounding so fired up - although this is nothing new for anyone who has been paying attention of late. Age of Steam follows, and the song is the next entry in an unofficial series of tracks that details the developments of transport methods during the industrial revolution - which includes songs like Made in Belfast and The Secret of Flight. Age of Steam is similar in its outlook, but is also packed full of huge riffs. The song slows the pace down in comparison to the title track, and goes for the more anthemic approach that is typical of modern Saxon. Frontman Biff Byford's lyrics tell a great story throughout, and the headbanging chorus is memorable thanks to his hooks and Glocker's precise double bass drumming. There is also a lot of guitar meat for Quinn and Scarratt to sink their teeth into. The song's opening has quite the guitar build-up, and the chorus includes a melodic lead. There is also a great instrumental section that includes lots of soloing from both - including a short period that sees both guitarists joining forces. The Pilgrimage slows things down further, and takes a much more epic path. It sounds like the band were trying to channel the style of 1984's Crusader here, and the song has a similar structure. Compared to the album's opening two songs, The Pilgrimage is much more dynamic. It mixes mellower and heavier sections together nicely - but overall it really revels in creating a strong atmosphere. There is a constant keyboard backing throughout, which adds depth, while the guitarists add further to this atmosphere with chiming clean guitar melodies and the occasional big chord. The verses are generally on the more mellow side, but things do ramp up during the choruses - which sound much bigger thanks to some powerful chords and Byford's heroic vocals. A piercing guitar solo adds some emotional depth, too, and the song is the latest in a long line of more epic, involved pieces from Saxon that showcase their ability craft something more than your average three-minute heavy metal anthem.

There is nothing wrong with three-minute heavy metal anthems, however, and that is what the band serve up with Dambusters. After the murk of The Pilgrimage, Dambusters is a fast-paced headbanger that is Saxon doing what they do best. The riffs of Quinn and Scarratt are really rooted in the band's NWOBHM past this time, with a heavy blues sound at times channelled through an injection of pace, but the guitar soloing style is searing - with occasional hints of neo-classical shredding that really help to bring the track to life. Glockler rarely lets up at all throughout the piece either, and his propulsion helps the chorus to really hit home - as Byford roars the vocals with all the energy of a man half his age. It is a song that is made to be played live, and I imagine it will become a live favourite if the band do elect to add it to their setlists. Remember the Fallen is the band's obligatory COVID-19 song. Writing songs about the pandemic can be a bit of a trap, as it is easy to fall into overwrought and cliché territory, but in fairness to the band this song just sounds like another modern Saxon anthem. Some of the lyrics do fall into cliché territory occasionally, but the song itself is powerful and the message is clearly heartfelt. I think making the song a mid-paced metal anthem rather than a ballad was wise, too, and the riffing throughout is tight and energetic. Lyrics aside, the song is one that could have sat on any of the band's other recent albums - so I think we can forgive the band jumping on the reflective pandemic bandwagon, as they gave it enough of a Saxon spin to make it sound honest. Those who like their Saxon to be fast and uncompromising will love Super Nova, which is probably the album's speediest and heaviest song. Saxon have always been one of the heaviest of the NWOBHM acts, and they have only gotten heavier over the years thanks to modern production techniques. Producer Andy Sneap's sound can put some people off, but I generally like the sound of the albums that he produces. His heavy, fat, and clear sound is perfect for Saxon; and Super Nova benefits from his touch. The riffing throughout really cuts through the mix as a result, and the punch of Glockler's pounding kick drums ensures that the pace of the track never lets up. Despite the general heaviness of the piece, though, things do slow down a little in the middle - where a short, atmospheric instrumental section gives the listener a short break before the song kicks back in again. Lady in Gray, like The Pilgrimage, is a slower track - but unlike The Pilgrimage it feels more like a ballad. It is a not a true ballad, but it is a song that goes for a slower overall sound, and there is less of an emphasis on riffing throughout. The guitars tend to add some crunch of the background, but keyboards dominate the mix this time - with the strong vocals of Byford taking the centre stage. The band have done quite a few songs like this in recent times, and their more atmospheric approach always works well - with keyboards making a positive contribution to the band's typical guitar attack.

All for One is another fast-paced track, and it is a song that really features the guitar duo of Quinn and Scarratt. Byford sounds great as always, but the focus seems to be on the guitars this time. The opening riff is full of energy, and whenever Byford is not singing the guitars always seem to be doing something interesting. There are lots of little riffs throughout the track that make it really shine, but the best moments for me are the solos. After each chorus there is a screaming guitar solo, and each one cuts through the mix with real purpose. All of the solos are extremely melodic too, and do not just rely on shredded leads - with lots of memorable hooks and phrases included in each one. Add in a simple, yet effective, chorus - and the song is another strong cut, which again is made to be played live. Black is the Night slows things down somewhat, and is another mid-paced anthem in a similar mould to Age of Steam - although with some of the atmospherics of The Pilgrimage thrown in. The song is generally heavy, with driving riffs and more vocal heroics from Byford, but there is a keyboard presence throughout that adds depth. It is relatively subtle, however, although it does become the dominant vibe for a brief period in the middle of the song. Similarly to how Super Nova slows down briefly, Black is the Night does the same - to allow for a bluesy guitar solo. The solo is on the slower side, but it is packed full of melody and perfectly suits the section's atmospheric style - before the song kicks back in and adopts a heavy feeling once again. In an attempt to end the album in a similar manner to how it started, the closing number Living on the Limit is another fast-paced track. It rivals Super Nova for the album's heaviest track, and it is certainly an uncompromising song that ends the album with a bang. That being said, however, there is still a dynamic approach taken and despite the song's short length there is a relative amount of diversity included. There are a handful of slower moments here, although these never reach the atmospheric heights of previous similar examples. The main one here allows for a guitar solo, but on the whole the track is fast and heavy - which ends the album on a real high. While there is nothing throughout Carpe Diem that I did not expect to hear, the 10 songs included are all memorable and see Saxon playing to their strengths. Saxon have a long-established sound at this point, so no-one expects to hear anything new, but the band's songwriting skills ensure that each new album that they release is worthy of the Saxon name. Carpe Diem is another excellent release from the veteran band, and another in a long line of albums that I love. Anyone with even a casual interest in Saxon will find plenty to enjoy here, and those who love old-school heavy metal of a traditional sort will also have a great time with Carpe Diem.

The album was released on 4th February 2022 via Silver Lining Music. Below is the band's promotional video for Carpe Diem (Seize the Day).