Holocaust
The Nightcomers

The Holocausts are like the Holy Grail: everyone knows about them but no one has seen them. The information regarding their biography is scarce and often inaccurate. What we know about them is that they were born in 1977 in Scotland; theoretically, with numerous lineup changes, they are still alive and were among the first to take part in the New Wave of British Heavy Metal. They could be compared to bands like Diamond Head, which, despite their undisputed talent, have not managed to break into the difficult exclusive circle of successful rock. However, their importance in the field is evident, demonstrated by the fact that a band of undeniable fame like Metallica has covered their songs ("The Small Hours" for Holocaust) during their career and also in the cover album "Garage Inc." That said, I would proceed to analyze their debut album, "The Nightcomers" (1981), which, far from being considered a pivotal album in the history of metal, is still worth purchasing and listening to with the appropriate attention.

The biggest difference from other albums from the early days of the NWOBHM is that this one opens with a track of pure rock'n'roll, "Smokin' Valves" (which later became famous in their live performances), which seems to have come out of a Mötley Crüe album from the (later) times of "Girls, Girls, Girls". The guitars of John Mortimer and Ed Dudley are rightfully highlighted both in the boogie rhythms and in the typically rock'n'roll solos. The second track decidedly changes direction: "Death Or Glory" fits perfectly into the Heavy Metal trend. Unfortunately, the truly low-quality production does not do justice to the beauty of the track, which unfolds among riffs, guitar solos, and catchy choruses. The rest of the album alternates between more rock'n'roll tracks ("Come On Back") and others with a more classic hard foundation ("Cryin' Shame") up to anthems that recall Judas Priest of "British Steel" ("Heavy Metal Mania"). A few special words go to real gems like "Mavrock" and the title track "The Nightcomers". In these tracks, all the heavy vein of which the Holocausts were saturated stands out. The guitars work together perfectly, between frantic rhythms and remarkable solos; the drums have an immense sound without ever falling into the background; Gary Lettice’s voice, still immature I must say, fits adequately into the band's standards, even though, had it been a bit fuller and more powerful, it wouldn’t have hurt. "The Nightcomers" in particular is influenced by bands like the already mentioned Judas Priest, Saxon, and Black Sabbath when the sound becomes darker and more introspective.

In short, the Holocausts are a band that deserves to be re-evaluated. Unfortunately, their discography is difficult to find and always the product of productions that are too scarce compared to what they should have been. Greater attention in this area would surely have given great fame to this group that has, alas unjustly, remained forgotten in the Heavy Metal genre. The final score of this album suffers greatly due to the poor production, penalizing the group’s excellent compositional side which, and I say this with great conviction, possesses a strength and power that not all bands of the period had.