When you think of the biggest names of the New Wave of British Heavy Metal (NWOBHM), bands such as Iron Maiden, Motörhead, Saxon, Def Leppard, Diamond Head, Tygers of Pan Tang, and Angel Witch immediately come to mind. They helped define the movement throughout the UK and went on to influence countless thrash metal bands around the world. One of the movement’s biggest champions was Metallica’s Lars Ulrich, who, alongside Kerrang! founder Geoff ‘Deaf’ Barton, helped compile the 1990 2-CD set collection New Wave of British Heavy Metal ’79 Revisited.
Yet one band has often flown under the radar despite being a vital part of the movement: Tokyo Blade. Formed in Salisbury, England, in 1982, the band has spent more than four decades carving out an impressive legacy, releasing 13 studio albums before 2025’s Time Is the Fire. Despite numerous lineup changes over the years, Tokyo Blade has remained resilient, refusing to back down and continuing to deliver classic British heavy metal with unwavering passion.
Mind you, I’m still very new to Tokyo Blade’s music, and listening to their 14th studio album, Hoist the Colours High, released through Cherry Red Records’ Dissonance Productions imprint, proved that the band still possesses the energy, power, and razor-sharp riffs capable of hitting like a cannon blast at a moment’s notice.
Hoist the Colours High is an album that’s even more aggressive, more confident, and proudly rooted in the spirit of the late ’70s and early ’80s, when the NWOBHM movement was rapidly gathering momentum. Close your eyes and imagine it’s either 1980 or 1981. Neal Kay is spinning records at the legendary Heavy Metal Soundhouse while fans in denim jackets covered in patches, denim blue jeans, air-guitar with cardboard cutouts, head-bang into the early hours, and spread the word about exciting new bands through pure word of mouth.
Tokyo Blade would’ve fit perfectly into that scene, and it’s a shame they never received the same level of recognition as some of their peers.
The title track, alongside ‘I Don’t Need No Enemies’ and ‘This Time’, crashes through the speakers like a giant battering ram. Blistering riffs, thunderous bass, machine-gun drumming, and Marsh’s soaring vocals briefly evoke the grandeur of Metallica’s Ride the Lightning era while maintaining Tokyo Blade’s own unmistakable identity. Boulton and Wiggins complement each other brilliantly, weaving together melodic harmonies, intricate arpeggios, and epic arrangements that elevate each song.
There has always been a symphonic edge to Tokyo Blade’s songwriting, and that becomes especially evident on ‘Too Wired to Sleep’. Marsh’s commanding vocals send chills down your spine. At moments, listeners may hear shades of King Diamond or Rob Halford, but Marsh never imitates either singer. Instead, he delivers his own heroic style, sounding like a warrior rallying troops before the final battle against the forces of evil.
And no, we’re not talking about the overblown fantasy of Star Wars. This feels more like stepping into the worlds of Conan the Barbarian and Red Sonja. ‘I’m Gonna Rise’ blends the heaviness of Black Sabbath and Mountain with the galloping attack of Iron Maiden. It even recalls where ‘Children of the Damned’ left off on The Number of the Beast, thanks to its soaring melodies and electrifying guitar work that will leave goosebumps running down your arms.
Then comes ‘Sweet Desolation’, which initially catches you off guard. The band shifts gears, combining the feeling of an open highway with roaring engines and heavier riffs before evolving into an emotional journey of self-discovery. It’s one of the album’s most melodic moments, balancing power with genuine heart.
On ‘Last Man Standing’, Tokyo Blade ventures into Spaghetti Western territory. You can almost picture the Man with No Name riding across the desert after the events of The Good, the Bad and the Ugly. The cinematic riffs, dramatic atmosphere, and larger-than-life presentation pay tribute to classic Westerns while remaining unmistakably rooted in traditional heavy metal.
With ‘Devil in the Red Mist’, the band channels the spirit of both Iron Maiden and Angel Witch. It feels like an epic battle unfolding across the pages of Heavy Metal magazine, with Taarna and the Gladiatrix charging into combat while the music pours fuel onto the fire. Boulton and Wiggins’ twin-guitar attack races neck and neck like NASCAR drivers at full throttle, making the song one of the album’s most exhilarating moments.
Wrighton’s bass introduction gives ‘She Was a Soldier’ an ominous presence, stalking forward like a monster lurking in the darkness. Yet beyond its heaviness, I couldn’t help but imagine the song reflecting Barbara Gordon’s return as Batgirl following the traumatic events of The Killing Joke. It’s a song about resilience, PTSD, and carrying emotional scars while refusing to surrender. Marsh delivers one of his strongest vocal performances here, especially during the megaphone-styled chorus, pouring genuine emotion into every line.
Closing the album is ‘Wasting My Time’, a reflective finale that leaves behind the battlefield and wanders through deserted streets beneath crimson skies. Rather than ending with a power ballad, Tokyo Blade opts for something more thoughtful, looking back on the past while keeping one eye firmly on the future. It’s a fitting conclusion that showcases the band’s softer, more melodic side without sacrificing their identity.
As I sit here wrapping up this review while taking a break with Beast of Reincarnation on my XBOX, one thing has become abundantly clear: Hoist the Colours High isn’t just another entry in Tokyo Blade’s discography, it’s a statement. It’s proof that more than four decades into their career, this band still has the fire, hunger, and songwriting ability to stand shoulder to shoulder with the very acts that helped define the New Wave of British Heavy Metal.
For longtime fans, this is another triumphant chapter in an already impressive legacy. For newcomers, it’s the perfect gateway into one of the genre’s most underrated bands. Hoist the Colours High captures everything that made the NWOBHM movement so exciting, towering twin-guitar harmonies, memorable hooks, thunderous rhythms, and enough fist-pumping energy to shake the walls.
Tokyo Blade may have spent years lurking just beneath the spotlight, but albums like this prove they deserve to stand alongside the movement’s most celebrated names. Raise the volume, throw the horns high, and let Tokyo Blade remind you why traditional heavy metal remains immortal.
