Leatherhead – Violent Horror Stories Review

[Album artwork by Mario López]

You would never know the very USPM-sounding Leatherhead are Greek. Yet here we are, reviewing Leatherhead’s sophomore effort, the bluntly titled Violent Horror Stories, which is … you guessed it, eight scary tales delivered in that specifically non-specific power-meets-speed-meets-heavy metal fashion of the band’s American forefathers. Lesser bands might work this formula into something of a tribute. Fortunately, anchored by their high-register and charismatic singer, Leatherhead are no such band, treating tradition-minded devotees to their own brand of well-written and direct heavy metal.

Leatherhead’s curiously uncommon, somewhat amorphous but always quite traditional sound is their pull. That Agent Steel, Riot, Helstar, and Vicious Rumors are frequent cross-references – as opposed to newer bands – isn’t all that surprising. For whatever reason, early USPM isn’t inspiring as many bands as, say, more epic, progressive, or British waves. Thankfully, Leatherhead are so inspired and carry the mantle forward.

To its credit, the only particularly modern element of Violent Horror Stories is the crisp and punchy production. Everything else, from the riffs to Tolis Mekras’s Geoff Tate-like vocals, sounds unmistakably early to mid-1980s, except, perhaps, the more late-1980s “Children of the Beast” – the album’s more expansive seven-minute song. It’s as if the fivesome had locked themselves in a neon-lit room with Blue Raspberry Slurpees, Big Macs, and Skeptics Apocalypse and Soldiers of the Night on tape. A proper party.

More important than the inspiration alone, Leatherhead are adept at writing their own memorable songs. Most, like album-opener “V.H.S.,” are lean in fat, their impression resting more on a few select riffs, a strong hook, and a tasteful lead. Some certainly stand out more than others. “Crimson Eyes,” in particular, finds Leatherhead at their best – Mekras navigating an especially hooky riff on a relatively simple but effective tune. It’s the sort of accessible song that compels repeat listens and often results in listening to the whole album anyway. It’s also Mekras at his best; mostly polished and on target with just a hint of unhinged for flair.

Leatherhead continue to occupy an important and, unfortunately, mostly vacant space in the metal realm. There aren’t a ton of non-legacy bands playing in this specific style. That Leatherhead play this specific style with this amount of aplomb is a benefit to all, but a particular benefit to those who crave original, hooky, and well-written USPM-style songs. With Violent Horror Stories, Leatherhead inch a little bit closer to crafting their own genre classic.