Here we have an absolute paradox in the universe's way of development – Saxon's Into the Labyrinth, the umpteenth Saxon full-length, is not half-bad. Hell, it is actually pretty damn good. But that doesn't make any sense, because this is not anything new or remotely altered. After witnessing Biff's 2009 voice, Paul Quinn's wonderful guitar playing, and Saxon's constant delivery of goods, our peers have reached the verdict: Saxon still means business and will not settle for mediocre junk. Into the Labyrinth turns that hypothesis into fact like water into steam; it is surprisingly consistent, and certainly a highlight in Saxon's epic legacy. As interesting as it may sound, Saxon does not move toward new areas during Into the Labyrinth in any way; it is just Saxon being Saxon. Although nothing outside the box, these gentlemen oddly keep the liquids pumping with what one would expect from our British chaps: heavy, intelligent riffing that leans toward edges both on the power metal spectrum (speed, melody) and simple grooves worshipping Sabbath, complex percussion doing the every-heavy-metal-record routine, and climaxing solos that are indeed wild in nature, yet fitting to Saxon's origin. Personally, Biff's vocals are in the album's limelight without any sense of shyness, as those bluesy, golden chimes master a nifty synapse between classic rock and heavy metal roll on freely, with no sign of some faded vocalist that ran his course years ago, I might add. Overall, Saxon remains just like Saxon.
As for standout anthems, this little CD contains more individual perks than a record of fillers. With "Battalions of Steel" as the opener, the listener soon acquires the vindictive apparatus Saxon applies: hard-edged instrumentation looking simple and rhythmic, but also vicious and highly likeable. "Demon Sweeney Todd," however, thrives off ripping speed riffs, fast percussion, and Biff's rough-edged voice dicing through Saxon's usual method of execution. The song is certainly unusual, but incredibly enjoyable nonetheless. "Valley of the Kings" is another soon-to-be classic due to that galloping riff and catchy chorus that draws you in like heroin, which leaves Saxon acting like aged cheese that's obviously old, but delicious.
To be frank, there is absolutely no reason why this album should be good: Saxon is older than time itself. Beyond this, they have recycled most of their typical cliches without hesitation, and have stuck to an identical formula for three decades now. Despite this, Into the Labyrinth provides the essential vitamins for this musical garden to thrive through a famine, so to speak. Perhaps Saxon gives evidence to the Lemmy Theory, meaning there need not be anything new in order to serve some churning pieces of flaming metal; although unbelievable, Into the Labyrinth rotates like clockwork. Buy this record, and watch these well-aged metal musicians reach the cheese at the maze's end.