Tyrant
Mean Machine

In the metal scene, it can be stated without a shadow of a doubt that the years from 1982 to 1984 were perhaps the best for the genre. Many works released in those years were of enormous influence for the bands to come, and many of those works are recognized today as pillars. "Black Metal" (1982) by Venom, "Into Glory Ride" (1983) by Manowar, "Kill 'Em All" (1983) by Metallica, "Defenders Of The Faith" (1984) by Judas Priest, "Spreading The Disease" (1985) by Anthrax, to name a few. But without taking anything away from these albums, and many others, there are also many bands from those years that never received the proper popularity, having to remain forgotten for too long, only to be rediscovered later.

One of these is Tyrant, a German band formed in Germany at the end of 1982, featuring a musical proposal of heavy/speed heavily influenced by bands like Accept, in the search for melody and with crushing riffs, and that in its own way anticipated the typically speed sound that would later make bands like Grave Digger and Running Wild famous.

In 1984 their first album, "Mean Machine", saw the light, and just one initial listen is enough to understand what this band is made of. Impetuous and devastating, "Free For All" and "I'm Ready" are the business card that this group proposes to make us spend just over 40 minutes in the company of heavy metal in its most classic form. More anthemic is "Wanna Make Love", which showcases the singer's hoarse and direct voice in the chorus, which oddly enough is almost identical to the frontman of Grave Digger, Chris Bolthendal. It's strange that this last piece wasn't even censored at the time since so many pieces about sex were censored, one among many "Animal (Fuck Like A Beast)" by W.A.S.P., in the same year. Instead, the song "Making Noise And Drinking Beer" seems to come directly from an album by Manowar, with its flashy but fun lyrics both to read and listen to. "Blood Suckin' Woman" is pure power, enriched by the right melody and a solo that is nothing short of excellent, and together with the previous "Grapes Of Wrath", it stands as the highest point of the album. "We Stay Free" falters in the chorus, which is subpar and predictable, though the basic riff isn't too bad.

All in all, a more than sufficient work, demonstrating how the most famous names are not always synonymous with quality. What each of us should have is a bit of curiosity, a curiosity that pushes us to dig deeper and seek out works made by semi-unknown bands that could, who knows, become favorites. What else is there to say about this "Mean Machine"? An album to rediscover, and in its duration, it can make the genre's lovers happy and satisfied. A Rediscovery.