DANTE FOX – Under The Seven Skies

It was way back in 1989 that Dante Fox burst onto the Melodic Metal scene with several live performances, honing writing skills and working toward a debut album. Years passed, and 1996 brought forth the freshman effort Under Suspicion, followed in 1999 by The Fire Within.

In the nearly eight-year silence, Dante Fox continued to write and perform live in their native Birmingham, U.K. Now, the band is back with Under The Seven Skies, a work chock full of AOR goodness.

Under The Seven Skies opens with “The Last Goodbye.” Sue Willetts has a voice akin to classic Heart, and her soaring range starts the album on a strong note.

The harder “Firing Guns” features a heavier guitar and bass line. While the track is new, it seems a throwback to 80’s AOR, from the guitar chords to the lyrics. If “Firing Guns” is a nod to Classic Rock, then “Hold Out Your Hand” is an all-out tribute towards Journey. Here, the rising chorus, the exquisite guitar solos, and Willetts’s voice all meld together to produce a winning combination of songs that simply beg replaying.

Appropriate for a prime time soap opera, “Goodbye To Yesterday” starts soft and builds in intensity and depth. The story of a young girl leaving love behind, Willetts again bends her voice to the task at hand. The unique percussion and syncopated rhythms set this song apart from the rest on Under The Seven Skies.

If any song on Under The Seven Skies sounds like 80s Glam, it’s “Walking The Line” — the dirty guitar intro, the wailing solos, the lyrics dripped in danger and a hint of hate. With “Walking the Line,” Under The Seven Skies hits a production high point. Willetts’s voice sounds best on this track, as do the instruments, especially the drums. While “Walking The Line” begins with a guitar solo, it ends abruptly, adding a mysterious twist to an otherwise very traditional Rock song.

The album’s title track completes the work; a nine-minute epic, “Under The Seven Skies” illustrates the band’s grand musical talents. Key changes are common here, as are double-tracked vocals, lengthy guitars solos, orchestral strings, and unique keyboard work. At about the six-minute mark, the song changes completely. The change is a little abrupt, but adds to the track’s character. As Willetts’s voice wails, an instrumental arrangement slowly and subtly takes over, closing the album on a gentle note; a truly innovative end to a genius effort.

Lineup

Sue Willetts – Lead Vocals
Tim Manford – Lead Guitars
Mike Dagnall – Bass
Mick Hales – Drums
Roman Wieckowski – Keyboards, Guitar