SABER TIGER - JAPAN

SABER TIGER – INVASION – TUSK FORCE  
Released in the spring of 1992, Saber Tiger’s debut full-length album is a marvellous heavy metal album that should have propelled the band to great heights had it not been perhaps the band’s base on an island in Japan and the consequent Japanese lyrics. Neither of these factors should have hampered the band because heavy metal fans are adept at sniffing out quality and affiliated with the underground, but the factors apparently did impede a bigger audience. Still, the band did fine and is still going so it is not too all lost.
If there is one word to describe the Japanese quintet’s Invasion it would be ‘punchy.’ It is an album that is now 30 years old and has not dated except that the style is pure molten metal while today's bands often mix crap into heavy metal to their, and our, detriment. If another word were needed to describe this album it would be ‘energy.'
Invasion kicks off with a Storm In The Sand, a powerful and energetic start that conveys unleashed urgency in both its music and vocals, the latter of which wails with abandon. The switch between the English and Japanese languages is customary to the Japanese and almost second-nature. The rest of us just have to deal with it. Light-Thunder-Light, the follow-up, is even faster and more hectic. Much of its power also stems from the way Kubota Yoko projects her vocals. The solos of band leader and founder Kinoshita Akihito are loud, noisy, shredding and adept. This is the essence of metal as the guitars are everywhere and screeching fast. True to the title the song is rapid-fire guitar picking galore. Nasty Heart comes next. It is a more technical and simultaneously a more commercial track, which fits as a title given the proliferation of references to ‘heart’ or ‘kokoro’ (‘heart’ in Japanese) on this disc. Back To The Wall is exceptionally all Japanese lyrically except for a mention of the title at its end. It slows things down. It is crunchier and Yoko slow sings, which gives her voice an airy and deep effect. She is a credit to her profession with her heartfelt delivery. The music is sometimes tepid, but not in a bad way, as it tries to convey the right emotion here. The backing vocals, courtesy of Yoko herself, are almost affecting and, as such, somewhat commercial. The melodic solo lends itself to the song too. Fate contains some heavy riffing. The vocals sound a register lower on a song built around this revving riff that leader Kinoshita throws around as if it’s nothing to him. The fluid solo, the dual guitar lead trade-off and the catchy melody stick with you. Then comes The Bluster, which begins with drumming that sounds like Quiet Riot. This song was Yoko’s pick for her performance at the band’s 40th anniversary show last year. The vocals are compressed or processed at the end and the song is not one of the better ones here, but all in all is not bad. It is almost two songs in one between the chorus, bridge and solo where it changes dramatically before making a U-turn creative. At least it shows that the band is not lacking ideas. Under The Control is fast and up-tempo. It is produced with multiple vocal tracks and just like Misery later on the album Yoko puts her own backing vocals to use. She sings of the heart freezing which is my cue to notice that ‘heart’ word again. Liberate gets heavier and upfront vocals. Another song that is a must-mention is Misery. It may be considered a power ballad in parts, but is also a scorching heavy metal shred fest. It is tender and forceful simultaneously. The vocals and the added backing vocals are sung with supreme feeling and emotional content. Yoko is simultaneously a powerful belter, gritty and vulnerable. The shredding metal guitars and the bass are all over this thing. Listen carefully and the use of backing vocals is pure emotional punch beyond their limited contribution. What a way to end the album and the song when a fountain of heavy metal soloing and whammy bar takes over. This song was later re-recorded acoustically and with an orchestra following Yoko’s departure from Saber Tiger.
The debut album by Saber Tiger is a statement of intent. By this time, Saber Tiger had heard and noticed the successes of its countrymen Loudness, Earthshaker and Anthem and yet copied none. Is it not peculiar how these bands all achieved world-class heights with their music in Japan during the same era yet none copied the other? Saber Tiger’s debut could actually be compared to the music of Terra Rosa, another metal band from Japan with a female vocalist. Yet, the point of this review is that Saber Tiger is a superb Japanese band and Invasion may be its best album. You know what to do. – Ali “The Metallian”

SABER TIGER – THE BEST OF – DEADLINE  
As the album’s title suggests you would have to be hiding under a rock – or to not be Japanese – to have not heard of Saber Tiger. The band has been active since 1981 in Japan’s land of superior sushi and miso ramen, Hokkaido. This compilation is supposedly part of a new focus by California’s Deadline Music to seek out and issue Japanese metal in the USA (and Canada).
Likely much to the chagrin of the band it is not easy to avoid the ‘L’ word when discussing Saber Tiger. Saber Tiger was formed around the same time as Tokyo’s Loudness, the infinitely better-known Japanese heavy metal band, plays solid heavy metal with impressive lead guitar flourishes and possesses a throaty vocalist. The last quality was often heard in Japanese metal as early as Bow Wow. The groups are completely distinguishable, but the comparisons are unmistakable. Saber Tiger’s founding lead guitarist Akihito Kinoshita is not an Akira Takasaki, but he is no slouch either. The vocalist on these songs is Takenori Shimoyama, which is the right time to mention that despite the album’s title the material stems from the group’s more recent releases. For, in fact, Saber Tiger has had more singers than there are microphones and more drummers than there are drums in Hokkaido!
The album kicks off with the song Messiah Complex (probably about American politicians and capitalists), which is the title track to the 2012 album. It has the macho sound metal fans appreciate less, which shows up again on the track Bionic from the Decisive album, but these do not constitute the bulk of the material. The songs are mostly high quality solidly heavy metal material perfect for any fan of true metal who nonetheless can do without higher pitched vocals. The Hammer is not accidentally entitled. The drum/guitar jab attacks the listener. At The Front unleashes the toms and its solo stands up to any anywhere. Painted Red is a more commercial composition whose lead guitars nonetheless blow the cobwebs off of any cheap Chinese made speakers. Reminiscence is the obligatory slow song whose lead guitar ironically is very Akira Takasaki. The melody and feeling is impressive. Angel Of Wrath could have been a speed metal anthem, but the band does not sustain the speed. The vocals and drums are very serious in punching at the listener however.
The Best Of Saber Tiger showcases a true heavy metal band whose talent and songs exceed its popularity. The disc and songs are well produced and well presented. Exceptionally for a Japanese act, the band has included a lyric sheet and even included Japanese translations of the songs. The cover hints at white metal, but that is about it. Closing track Dividing Line, which has an advanced arrangement and dual guitar assault a la a modern Michael Schenker, mixes English and Japanese lyrics for a distinct feel. Saber Tiger is a nugget of sorts and one that gets better with each successive listen. – Ali “The Metallian”