The album’s title track “Hell, Fire and Damnation” opens with driven riffs and layered vocals exploding vehemently while constantly managing to strike gritty aggression, the galloping drums boast an energetic feeling. But don’t expect the band to curb its thundering power, as the catchy riffs triumph with the glorious vocals of Byford on the track “Madame Guillotine”. Saxon captures memorability, drawing its guitar melodies and hooks, and it’s clear that the songwriting is distinctive because the galloping riffs, pounding drums, and baroque vocals instill mid-crushing tempo and catchy choruses. Each marching pace contains some beautiful melodies that overflow with a talent, the smooth agility of the guitars to strike one riff after another has an infectious tone.

The heavy vibe of the guitars thunders loud from the speakers though I wouldn’t say that Saxon has increased the dynamics. It’s clear that this is one of the band’s heaviest albums to date, the songwriting might lack the dark mystic aura of albums like “Lionheart” and “Metalhead”. The nine songs are bolstered by up-tempo paces, Byford’s aggressive vocals and the breakneck pacing of the drums alongside the impeccable energy evokes some of the most impressive riffs I’ve heard in a long time.

The brilliant mix of classic NWOBHM is fully displayed on “Fire and Steel” track. The focused pace of the drums the soaring guitar solos and the flawless vocals are packed full of aggression and delivered with a punchy attitude. The British institution ensures a high quality the drums execute some powerful double bass with thundering beats and exhilarating heavy guitar riffs which burst into full-speed action on “There’s Something in Roswell”. The main riff resonates with blazing riff power, and it’s beautifully crafted.

Tracks like “Kubla Khan and the Merchant of Venice” have the specimen of modern power metal, as the guitar solos stampede, followed by the loud pounding drums pummeling towards a heavier metallic sound, bringing plenty of old school spirit and energy into the composition. The guitar work shows a great ability to imbue the songs with raw aggression, the solos, and grooves are infectious and catchy enough to make your head bang.

“Pirates of the Airwaves” follows the same formula as the previous songs and immediately injects tons of fiery riffs that offer a thrilling, wild ride for fans. The characteristic vibe of the album has an upbeat sound, and the execution relies on vigorous chunky riffs, but the main element is in the singing tone of Byford which somehow reminds me of Saxon’s 80s classical albums like “Wheels Of Steel” and “Strong Arm Of The Law”.

The massive riffs are deployed in such an epic manner with songs like “1066” bringing the majestic sense of Saxon’s invincible signature sound, Byford’s dark vocals matching perfectly with the menacing riffs unleashing thunder and lightning, the melody section simultaneously contrast with the rapid solos in this mid-crushing song. This is one of the few songs on the album that emphasizes atmosphere besides the album’s opening song. The epic quality and the vocalization are top-notch, and you should expect nothing but excellent performance from these legends, especially the drumming is superb. The Production is crystal clear, and it’s been produced, mixed, and mastered by Biff Byford and Andy Sneap (Megadeth, Accept, Judas Priest and Kreator, etc.).

“Witches of Salem” and the closing track “Super Charger” maintain the heavy riff patterns however, the bombarding drums boom with the erupting guitar solos while the pacing of the guitars has a metallic range showcasing intensity and flawless execution. In my opinion “Hell, Fire and Damnation” is among the heaviest albums ever released by Saxon the album could have been better if the songs had a dark mystic atmosphere, nevertheless Saxon has always been a band that’s constantly shifting and evolving and their newest album is essential for fans of heavy metal.

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