There’s got to be a certain amount of anxiety about releasing new music after over 40 years in the business (41, to be precise). Do you meet the expectation set by decades of consistent heavy metal, meeting the demand of an audience increasingly set to “gimme what I want” in their config settings? Or do you follow your muse, which may pull in a different direction? That seems to be the conundrum of Satan, the long running UK NWOBHM torchbearers, and their resolve on Songs in Crimson sounds to be a little bit of both. Faster, looser, a little more punk than you’d expect, but nothing that hides their trad roots. Is that your thing? I won’t lie, I’m still a little undecided, and that’s not a bad thing.

Since reuniting in 2011 the band have put out four killer albums, culminating in 2022’s Earth Infernal (reviewed here) all of which equaled, and arguably surpassed, the 1-2 punch of their early 80s classics. So it would be completely forgiven had Satan opted for more of the same. Instead, Songs in Crimson has a frantic energy to it, a more immediate attack to the songs that shy away from the complex and measured progression of the previous few albums. That gives everything more punch, more of a “bang it out” punk attitude and once I got over that small turn in the road I found myself down for it.

The hammer-on attack that opens “Frantic Zero” and then launches into a speedy gallop has a raw texture that helps push this punch ahead. It’s no surprise at this point, but Brian Ross continues to sound as good as he did 40 years ago, and lyrically continues to find plenty of grist in society at large. The twin guitars of Russ Tippins and Steve Ramsey also continue doing their thing, although if you’re looking for those longer, complex ideas of yesterday they’re not as prominent on Songs in Crimson. They’re there, but scaled back in service of getting to the finish line in four to five minutes, making each track a punch to the throat as opposed to a lengthy throat strangulation. Is that a thing? I don’t know, but it’s what I came up with as my mind was distracted by the great backup vocals on “Era (The Day Will Come).” For a taste of that interplay of riffs from the Book of Mercyful look no further than “Whore Of Babylon” which luxuriates in one idea after another. It’s the most “classic” track on the album, and paired with the other standout “Sacramental Rites” will make any Satan fan stand and sheer.

The second half of the album doesn’t disappoint, giving us some raunchy and twisted blues riffs on “Captives” that would sound generic with any other band. Here, Satan make it their own, and you can hear the rushing pulse of generations of experience just letting it rip. More Mercyful Fate looms in “Curse In Disguise” which prominently features the throbbing bass of Graeme English. He’s locked in well with Sean Taylor’s drums, and they offer a suitable foundation for the gallops to commence.

Complaints for Songs in Crimson are few; if anything, by the time of closing track “Deadly Crimson” I think I’ve heard at least 3 songs open with a similar solo guitar figure. But I love that guitar figure, so it works for me, as does pretty much everything Satan put down here. It doesn’t feel as thick or luscious as Earth Infernal or their earlier post-reunion works, but I dig the loose and fast vibes, feeling more analog and band driven than a lot of what’s been pieced together on Pro Tools this year.

For that alone, I’ll take it.

— Chris

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Songs in Crimson will be available September 13 from Metal Blade Records. For more information on Satan, check out their website and Facebook/Instagram pages.