Deadly Circus Fire: The Hydra's Tailor

Cosmopolitan prog metallers’ second – suits you, sirs…

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An album full of surprises, Deadly Circus Fire’s second release has taken the multi-national band into new, more exacting territory compared to their 2013 debut The King And The Bishop.

In Darkness We Trust and Animal provide a mouth-watering introduction to the album, with vocalist Adam Grant displaying his diversity, comfortably ranging from the gruff to the smooth. Elsewhere, songs like Victim, Devil’s Opera and the title track allow guitarist Save Addario plenty of opportunities to show deft touches mixed with disciplined aggression. But what really catches the attention is this band’s fondness for melody. This comes through time and again as they meld a leaning towards exhaustive musicianship with a real respect for making songs like House Of Plagues and Aeden accessible on even the most cursory of listens. There’s also an eeriness that permeates the album. Closing tracks Turning The Tide and Universe leave you feeling as if you’ve fallen into the grip of something psychotically appealing, and this brings to the fore the sheer sense of unease they’ve made you feel throughout. The Hydra’s Tailor is an album of blazing worth and conviction.

Malcolm Dome had an illustrious and celebrated career which stretched back to working for Record Mirror magazine in the late 70s and Metal Fury in the early 80s before joining Kerrang! at its launch in 1981. His first book, Encyclopedia Metallica (opens in new tab), published in 1981, may have been the inspiration for the name of a certain band formed that same year. Dome is also credited with inventing the term "thrash metal" while writing about the Anthrax song Metal Thrashing Mad in 1984. With the launch of Classic Rock magazine in 1998 he became involved with that title, sister magazine Metal Hammer, and was a contributor to Prog magazine since its inception in 2009.