Review by Carl on April 18, 2022.

I remember first running into these guys back in my teens, finding a copy of their first album Life Sucks ..., with it's crappy so-bad-it-becomes-good cover art and unpolished, raucous musical content, and later buying Tower Of Spite which bored the arse out of me for reasons I can't really explain. It just did. Because of this I really haven't been paying attention to their dealings from that album last mentioned on, until recently I bought this album for cheap, and I must say that I'm still not totally on board with their brand of thrash metal with some slight crusty edges.

Contrary to Tower Of Spite, I do know exactly what it is that bugs me on this particular album, and that is the lack of velocity. Opener 'Bastards', that has a cool Amebix feel to it, acts more like an intro than a genuine song, with 'Descent Into The Unconsciousness' being the real opener. A Testament/Metallica style riff promises a thrash tornado about to be unleashed, but deteriorates into a mid-tempo slog with some tedious lackluster drumming right away, something that keeps popping up throughout the album, with tracks like 'Veil Of Tears', 'Sphereborn' or 'Mammonite' as examples of this. The music moves along, sure, but it never really gets going, if you know what I mean. It's not like they turned into a 90's groove metal band, but as a thrash band this falls flat on its face. Step on the accelerator, guys! It's the one right next to the brakes.

By now, you probably think that I hate this album, but that's not the case either. There is quite some to be enjoyed here. Take the double kick driven parts in 'Middle Third' and the aforementioned 'Mammonite' that manage to propel dealings straight forward. It also has to be mentioned that throughout the album the riffing is tight and on point, with a cool sound to the guitar work production-wise, and vocals that sound awesome and, in true hardcore punk fashion, really menacing. Interestingly enough, my personal favorite track is the doomed-out slow burner 'Beyond Jerusalem', sounding like Celtic Frost one time and early Paradise Lost the next. Great track all-round!

The cd versions have 3 bonus tracks. One original, 'Maimed To Beg', which finally sees the band diving head first into some manic hardcore thrash rage, even if it sounds a tad neutered by the perhaps too clean (for a band like Cerebral Fix at least) production. The other bonus tracks are cover versions of old school UK punk bands G.B.H. and The Damned. Nice to hear once or twice but pretty redundant in the end.

This is a pretty so-and-so album in its totality. It's not a bad effort, but it's clear the members were bored with what they had been doing, something underlined by the fact that in the band picture two of their members are wearing shirts of UK dance acts EMF and The KLF. Good chance that they were perhaps looking to try doing something different with their sound. They still had the Bay Area thrash metal riffs, but scaled back on the speed, while injecting groovier rhythms, ending up sounding confused, unfocused and, unfortunately, boring. Compared to the chaotic-yet-highly-entertaining approach of their debut, this album is a slog struggling to get started, even if there are some good ideas present.

Too bad they aren't good enough.

Rating: 6 out of 10

Review by Adam M on March 9, 2022.

Eric Wagner definitely has a prestigious enough career to be worthy of this solo album treatment. The posthumous nature of In The Lonely Light Of Morning makes it even more special and noteworthy. The songs here are still in the doom fashion but with a bit more of a singer-songwriter vibe. They showcase the passionate side of Eric Wagner and serve as a fitting tribute to him. Sure, it could be argued that the best Trouble material is more exciting, but this is still another worthwhile addition to the artist’s cannon. Songs ooze groove and a sing along nature that is welcome to behold.

In The Lonely Light Of Morning is structured to progressively show the passionate nature of the singer and the album does become a bit more interesting as it progresses. Interestingly, it is about as heavy as the latest Trouble material with Wagner present and serves as a nice continuation from it. The gradual crescendo for the album displays a nice way to end off the legendary vocalist. The vocal performance is pretty spotless, and the nice production expounds on this. Still, the album isn’t perfect and perhaps suffers from the fact that it could have been even more subtle than it is.

Nonetheless this is a good tribute to a vocalist that has provided us with plenty of solid material over the years. It has the right breath or scope to showcase his talent in a doomy fashion, just as he would have liked it. The amount of groove nicely matches his voice and makes the tracks even more poignant. The future of Eric Wagner’s presence is highly positive, and he will be remembered in a nice manner. This is a solid commemoration to him and showcases his signature style well. It comes highly recommended to Wagner’s large fanbase.

Rating: 7.4 out of 10