Dirty Weapons by Killer Dwarfs | Overlooked Excellence

This is a review of Killer Dwarf's 1990 release and fourth studio album, Dirty Weapons.

I’ve heard the Killer Dwarfs name thrown around for a number of years, especially as I have ventured into enjoying less mainstream and often overlooked 80s metal. Until recently, I had never listened to their material, and wrongfully assumed they were a gimmick band more than anything. Their stage antics, including having a singer who spins on his head and rides around on a tricycle, were perhaps what made me hesitant to give the Dwarfs a listen. It wasn’t until about four months ago that I gave them a shot and really started to latch onto their music.

Dirty Weapons was my introduction to Killer Dwarfs. I first found the album’s title track, which I featured on The Rock Mine radio show almost immediately after hearing. The rest of the tracks on the album soon followed, and many were played on a daily basis. Very quickly Dirty Weapons became my top played album of Summer 2023.

This album embodies so much of what I’m looking for in music. Crystal clear production, catchy songs, intricate but tasteful guitar work, and a strong rhythm section that can balance groove and power. In a way, this formula is very much the “Van Halen” model. My favorite bands and albums seem to feature each of these points while additionally adding their own embellishments, style, and personality.

The best place to begin talking about personality is with vocalist Russ Graham. With such a unique vocal approach, he makes the band standout from others of the era. His phrasing and ability to manipulate melody is expert level, and makes me question how the band has been so overlooked all these years. He is able to create beautiful melodies that feature such aggression and power. His embellishments at the end of many lines, such as those in All That We Dream, provide melodic interest to the listener. Bands that feature unique vocalists are often my favorites, and Killer Dwarfs is no exception.

Guitarist Mike Hall has ripping solos all throughout the album. Like many of my favorite guitarists though, his complex rhythm playing is what cements him as a top tier player. This is most noticeable on tracks like Comin’ Through. As proved by many of the standout tracks such as Last Laugh, Dirty Weapons is chock full of intricate syncopated riffs. Without Mike’s rhythmic talents, Dirty Weapons certainly would not be as strong of a release. Mike adds in an element that pushes this album to near legendary status.

The rhythm section, featuring bassist Ron Mayer and Darrell Millar, provides much of the power for this album. Mayer has some standout lines and runs. His punchy tone provides the backbone that contrasts against Russ’s high floating melodies. Darrell Millar’s drumming is perhaps best described as consistent. He does what the best drummers do and plays for the song. He isn’t necessarily flashy, but he isn’t afraid to throw in a few monster fills throughout Dirty Weapons.

Speaking on the production of the album, Dirty Weapons features that perfect blend of highs and lows that enjoyers of 80’s hard rock tend to appreciate. Searing guitar leads contrast with booming yet crisp drums. Punchy bass lays down the groove of the tracks while thick vocal lines provide melody to the listener. The vocal harmonies on this album are extremely strong and a highlight of its fantastic production. In addition to this - the overall vocal sound, lush with reverb and delay, unifies otherwise varied songs.

The blend of acoustic guitars, with driving rhythms and bluesy guitar riffs, and percussion, featuring various percussive shakers, give off some heavy southern hard rock vibes in places - especially Not Foolin’. I definitely appreciate this dimension when compared to the more streamlined hard rock sound of many other albums that were released around this time.

Overall, Dirty Weapons is the perfect storm of Canadian Metal at its best. Featuring balanced and clear production, yet raw and gritty instrumental and vocal approach, the album features the type of contrast that I enjoy. It’s power only lulls for one song, a ballad that may not be a personal favorite, yet I can say is well done. My top tracks include Last Laugh, Dirty Weapons, All That We Dream, and Not Foolin’. Every once in a while I’ll stumble upon an album that completely changes the way I listen to music. Dirty Weapons is the pinnacle example of this perfect storm.