Tyrant
King Of Kings

The Tyrant, from Pasadena, California, perfectly embody the spirit of a certain type of metal. Stentorian voice, beautiful solos, and an underground attitude like few others. Whether this "underground attitude" is intentional or suffered is yet to be seen. Active, in fits and starts, since the distant 1978, practically from the prehistory of heavy metal, they were almost born as a joke on school benches, only to become a much more serious occupation some time later, with the two May brothers taking over. Born in that very scene that would give birth to much more renowned bands like Metallica and Slayer, the four Californians would only see the success of their illustrious colleagues from afar, remaining relegated, also due to rather unfortunate managerial choices, in a musical "underground" from which they would never emerge.

Arriving at their full-length debut in the mid-Eighties after the usual grind of demos and compilations, they disappeared shortly thereafter, leaving behind a meager discography composed of only two LPs, "Legions of the Dead" (1985) and "Too Late to Pray" (1988), and an infinity of missed opportunities. How many of you at the end of the Eighties, with an album just released and a name to make, would refuse to go on tour with Slayer and Mercyful Fate? "Open for Slayer!? Are you kidding? Let them open for us!" Result: Slayer didn't care about them at all, and twenty-five years later, if you ask someone about the four Californian Reapers, they respond with "Slaaayeeer!!!", while if you ask about Tyrant, they respond with "who?". As mentioned before, certain decisions made back then in Pasadena were not exactly the best. Thus, the four Tyrants found themselves without a path forward and had no choice but to hang up their instruments and stash their studs in the closet. From nothing they came and to nothing they returned, losing their trace until the mid-Nineties. Every social phenomenon is nothing but a reaction to what preceded it, right? And in a world dominated by rappers wearing Metallica shirts (that would be nu-metal) and fake-depressed flannel-clad people (that would be grunge), what could come back into vogue if not the Eighties heavy metal? Actually, the European power metal, an ultra-energized version of the Iron Maiden and Helloween golden age lessons: if the latter found themselves living a second youth with the arrival of Andi Deris on vocals, other valuable bands were not just sitting idly by, and Europe was literally assailed by Stratovarius, Blind Guardian, Gamma Ray, and Hammerfall.

In such a climate, could there not be a second chance for our Tyrant as well? And here they are with the trusty Bill Metoyer behind the console, reappearing in 1996 with this "King of Kings," an album which, on one hand, stands out for its interesting social and religious-themed lyrics, but on the other almost gives the impression that time has stopped in 1988, both for the musical offering and the chosen studio sound.      After the customary intro, which is the third "episode" of that "Tyrant's Revelation" that accompanies the Californians since their inception, it kicks off immediately with the track that gives the title to the lot, namely "King of Kings," a genuine summary of the proposal by the four. Structured and evocative voice, invocations to the Almighty, powerful riffs, and a rhythmic section that holds everything together, not forgetting the role played by keyboards, present in rare but essential moments to give the final result a grandiose and fascinating tone. "Fast Lane" seems straight out of an early Eighties Kiss record, while pieces like "Ancient Fire" and "Dance with the Devil" reiterate what was said at the outset, with metal that manages to be atmospheric and suggestive without any need for elaborate orchestrations and million-dollar productions, while pieces like "Nowhere to Run" fully fit within the Christian metal stream.  Regarding the production, it must be said that it is decidedly low-fi, frankly it is unclear whether by choice or necessity, and although it often makes sounds muffled and unclear, making it difficult to appreciate the work of the individuals, on the other hand, it gives the entire work the typical allure of certain works, inevitably destined to be the domain of a niche, well-defined audience. With "Tighten the Vice," marked by an almost martial rhythm, and the poignant "Coast to Coast," placed practically at the close, a certainly good album concludes, certainly not a masterpiece, but still a fine example of how to understand a certain type of music, made with great passion and dedication, knowing that the lights of the big spotlight will always and only be for someone else.

After this album, the name Tyrant would circulate again, with several dates in both the United States and Europe, along with participation in Germany's Bang Your Head!, although new albums have not been mentioned, at least until now. Who knows if at this point, aware that the success train passed over twenty-five years ago, fate doesn't give Tyrant a second chance and the story can resume where it left off: they will hardly ever write a masterpiece, but they have always been protagonists of an honest and sincere heavy, offering pleasant albums even after many listens. 

Tyrant:

Glen May, Vocals

Rocky Rockwell, Guitars

Greg May, Bass

Tom Meadows, Drums

"King of Kings":

1. Tyrant's Revelation III

2. King of Kings

3. Fast Lane

4. Dance with the Devil

5. Ancient Fire

6. Nowhere to Run

7. When Night Falls

8. Tighten the Vice

9. Coast to Coast

10. War