Queensryche: The Warning

Operation: Mindcrime” is often considered Queensryche’s magnum opus, in fact it is often considered one of metal’s grandest albums. Debate aside, prior to this legendary concept album, they already had two solid releases under their belt. Their debut “The Warning” was releases in 1984 and although this would be the beginning of a long and controversial career for Geoff Tate and company, the earliest years were filled with some wonderful music.

The music on “The Warning” is a blend of classic heavy metal with elements of progressive rock and a hint of power metal. Many will point to some obvious Iron Maiden comparisons due to the band’s twin guitar harmonies that they employ, but this is neither a clone nor an album playing worship music. The songwriting on “The Warning” are at times complex, creating song structures that are both sporadic at times, but are so mainly due to the variety of genres the songs are rooted in.

On “The Warning” we get to hear the early workings of the band’s magic. Tate’s vocals are always ranked among the greatest in the business and they show consistently throughout the album. His voice carries a certain pitch that, although may share similarities with the likes of Rob Halford, they are unmistakably unique. His highs are brilliantly clean and on point, while his mid-ranged tone carry a catchy bounce to their tone that give them a trademarked sound that Tate would build his career upon. Michael Wilton and Chris DeGarmo create a dazzling display of lead riffs, catchy rhythms and well executed solos that make it easy to see why they are often compared to Maiden. Not so much because they sound alike, but more, the sheer awesomeness they create while playing such well-timed harmonies. The bass plods along in the background with the twin guitars adding an additional piece to the rhythm section, while the drums provide a poppy sound, playing right along with the guitars and adding some unique fills along the way. The only real downside to the drums would be the lack of power in the form of a bass drum. With a good pair of headphones, you can detect its presence, but otherwise is absence is noticeable. To be honest though, I feel the bass drum would have enhanced the overall sound of the album, but the lack of the bass doesn’t’ necessarily take anything away either.

As for the album itself, the opener “Warning” starts off with a mid-pace tempo that showcases Geoff Tate’s legendary wails. The leads play with a progressive sound, slowly building into a Maiden-esque rhythm section, before shouts of ‘Warning’ echo into the distance. We then switch to a straight up, NWOBHM sounding guitar tandem on the next track “En Force”. The following track, “Deliverance” changes structure once again and plays with a much more up tempo, speed metal sounding power that features catchy leads and a memorable chorus, thanks to Tate’s singing and Wilton and DeGarmo’s harmonious guitar work. Just when you think you might have gotten a handle of the structure of this album as a whole, “No Sanctuary” arrives and the changes the pace of the album, yet again. The song opens with an acoustic guitar and slowly, but progressive builds into a soaring chorus that features Tate’s ability to capture both the mood of the song and of course, of the listener as well. The song carries a very progressive rock tone ala Pink Floyd to its overall sound and delivery. The remaining songs follow a similar pattern of complexity and switching from progressive rock, to speed metal and back again to a NWOBHM Maiden sounding style.

Now, with such a complex stable of songs on hand, the only downside is the actual flow of the album itself. I don’t know if this was how the band intended “The Warning” to sound, but with the interchanging of various genre influences at hand, the album plays more like a collection of songs with not much direction. Personally, this doesn’t take much away from its enjoyabiltiy, as there are a number of handpicked songs that can easily be played and enjoyed on their own, but there is something to be said when and album plays straight through and maintains a consistent ebb and flow of music and emotion.

“The Warning” may not live up to their 1988 masterpiece, but it is a solid debut with plenty of catchy and memorable moments that will leave and 80’s metal and US power metal fan more than satisfied.

Highlights: “Warning” “No Sanctuary” “En Force” “Deliverance” 

Rating: 4

Fear Factory: Digital Connectivity

Digital Connectivity is a collection of live performances, music videos, band interviews and various bits of informative clips recorded from 1993-2001. At the time, it covered the majority of their career, but sadly it would be the final collaboration as the band would inevitably part ways shortly after this video release.

As far as the material goes, it is a very entertaining bag of mixed goodies. The video plays almost like a documentary, in that it follows the band in chronological order from their days on “Soul of a New Machine” up to “Digimortal”. Throughout the video, we get to see live performances from each albums time period, each capturing the essence of the band with arguably the most popular of songs from each of the four albums. The live sets themselves are handpicked, I would imagine, to offer the best experience and impact from a live showing. Aspects such as sound quality, band interaction and crowd reaction are important ingredients for a successful live showing and as such, each of the live performances exude as much.

However, this is not simply collection of live shows. As I said, there are other elements such as official videos for "Replica", "Resurrection" and "Linchpin". there are interviews with each of the band members that offer a lot of insight into the mindsets of each musician and really help show how they vision and imagine their sound. There are showcases of the band working in and out of the studio, preparing for both live shows and recorded material and then there are random clips ranging from the members goofing off, to telling a story or just showing them in random situations. Everything is woven throughout the live showings to give the video the documentary feel, which plays smoothly from start to finish and never feels as though it drags. There are even musical bonus tracks (at the time unreleased, but since have all been released on various albums and comps), which only sweetened the deal, leaving any fan of Fear Factory more than satisfied.

Rating: 5

Queensryche: Operation: Mindcrime

Queensryche’s, Operation: Mindcrime is often heralded as one of the landmark albums of US power metal and for good reason. Perhaps best described as a rock opera, the concept behind “Operation: Mindcrime” follows the tale of a drug addict named, Niiki and the sinister plans of Dr. X. Feeling a sense of revolution, Niiki seeks out the notorious, Dr. X, whom uses a form of drug to brainwash individuals and thus, tasks Nikki to assassinate various targets. Eventually, Nikki becomes conflicted upon having to kill a particular target, a woman for whom he falls in love with and from there the story progresses into bouts of panic, pandemonium and suspense.

Story aside, which deserves its own review and synopsis, the music on “Operation Mindcrime” itself is fantastic. Geoff Tate is often considered among the greatest vocalist of our time, which should come to no surprise after hearing his performance on “Operation: Mindcrime”. Not unlike, Dio, Dickinson or Halfod, Tate has a vocal range that can reach soaring heights that carry both power and majesty, but also stir up emotions across the spectrum. His voice is simply captivating and one can’t help but get lost in the dreamy tones he creates throughout this album.  Songs like, “Revolution Calling” and “Speak” show off is glorious highs while songs such as “Breaking the Silence” and “Operation: Mindcrime” he shows off the ability carrying a more mellow tune and sing with a grace few others can. At times, he even has a poppy, more 80’s hair sound to his voice, which can be heard once more on “Operation: Mindcrime.” The verse ‘They're all in Penthouse now, or Playboy magazine, million-dollar stories to tell.’ always make me think of some sleazy glam song, which I absolutely love! The area in which he excels in the most however, would be the choruses, as they allow him to simply let loose and allow him to put all of his emotion into his voice. The choruses really steal the show throughout the album and only enhance the story, or chapter I should say, of each song.

The guitars on Operation: Mindcrime deserve a special nod as if it weren’t for Tate’s legendary performance, they would be the subject of all the praiseworthy banter. However, they deserve no less than an equal showing of admiration as on their own, they display a wide variety of strong and melodic rhythms, as well as captivating and energetic leads. The riffs alone carry enough heft to hook the listener, but then you add in unique rhythms and guitar timings and then sprinkle in some captivating solos and you will be left beyond satisfied. Michael Wilton and Chris DeGarmo’s guitar work on their own warrant their own mention, but it’s their ability to harmonize with one another, feeding off each other’s timing and ability to create a genuine sound that helps not only enhance Tate’s vocals, but allows the entire album to flourish from start to finish.

The bass has a nice reverberating tone to it, a sound that is easily detected and integrates well with Wilton and Degarmo’s dual guitars. There are many times when the bass really helps add an additional pop to the sound during the interchanging of said guitars and helps maintain the pulse of the rhythm. I would argue that the band’s ability to harmonize all three of Wilton, Degarmo and Eddie Jackson’s chords is nothing short of brilliant, as all of their sounds never seem do overtake one another nor do they sound forced at any point.

Scott Rockenfield delivers some fine work on the drums, adding a heavy dose of progressive sounding elements to this progpower masterpiece. The unusual tempos and beats allow the songs to seamlessly alter from straight forward hard rocking sections to a more mellow sound. Whether it’s a quick paced beat or a slower more tempered sound, the drums provide a very nice compliment to the overall rhythm and develop a sturdy foundation for the rest of the instruments (and vocals) to build upon.

The additional pieces of the sound also deserve mention. The use of acoustic guitars, keyboards, synths and of course soundbites play a vital role in creating an additional layer to both the sound and story. The production as well deserves an additional tip of the cap, as it is clear and concise, allowing everything from the vocals to the bass to the synths to shine.

I suppose, what I enjoyed most about Operation: Mindcrime, was not so much how wonderful Geoff Tate’s vocals sound or how great each of the instruments were played, but rather how they sound together. My love for this album is attributed to just how well they all mesh into one cohesive sound forming a single heartbeat that pumps the lifeblood throughout the album’s entirety. It’s true that on their own, the vocals and instruments could be viewed as a success, but the reason this album is so widely praised is the fact that Operation: Mindcrime serve as a perfect analogy to a completed puzzle. Each piece is just as important as the rest, but even if just one is missing, you’ll never have a whole product. You’ll never truly be complete. That is how you sum up this album: complete.  

Highlights: “Revolution Calling” “Operation: Mindcrime” “Speak” “Breaking the Silence”

Rating: 4.5

Solution .45: Nightmares in the Waking State - Part I

After Solution .45’s debut, “For Aeon’s Past”, my worries of Christian Älvestam’s new band were both put to rest and left me feeling excited for the future. Unfortunately, the future would not come around for another 5 years, as “Nightmares in the Waking State - Part I” would finally drop in 2015. One of my concerns about Älvestam over the years was, how much effort he would be able to put into Solution .45 as he has his hand in a number of other projects. Length between releases aside, I figured I’d wait to hear the album before making any rash assumptions.

When I first heard “For Aeon’s Past”, I was impressed with the hybrid, melodic death metalcore sound they played. It is a sound that is once again present on “Nightmares in the Waking State - Part I”, but this time, in my opinion, it is much more apparent. It sounds almost as if, “For Aeon’s Past” saw the band flirting with a sound they sought to make their own. “Nightmares in the Waking State - Part I” on the other hand saw the band firmly immerse themselves in that hybrid rather than simply borrow influential elements from the likes of Soilwork and In Flames.

The most noticeable change from “For Aeon’s Past” is arguably the lead guitars. The rhythms and solos on their debut album were plentiful and showed a lot technical ability. Now, although I was a fan of Tom Gardiner’s thick and meaty riffs on “For Aeon’s Past”, they weren’t exactly the most varied or breathtaking. I also felt due to this lack of variation, the rhythms, for the most part, were put into the spotlight far too often, essentially having to anchor the atmosphere of the entire album. However, “Nightmares in the Waking State - Part I” saw the departure of Gardiner and was replaced with Älvestam band mate from The Few Against Many and Torchbearer; Patrik Gardberg. The change is immediately noticeable as, this album is chock full of riffs that have the ability to both, carry their own weight in the creativity department, but also add a distinctive layer to the band’s sound. From thick and groovy, to crisp and plucky and even some heavier sludgy sounding sections, the riffs on this album are far and away more memorable. With a stable of varied riffs at their disposal, the leads are able to better hook the listener and keep them entertain, which leads to some excellent transition with the rhythms and solos. I know I’ve put a lot of praise on the riffs and that is mostly due to their newfound power, but Jani Stefanović’s ability has not faded in the least. The rhythm sections are just as melodic as they were on the previous album, offering an excellent foundation for Älvestam vocals (especially his cleans) to shine, while his solos still have the ability to shred your face off.  

As for Älvestam’s, once again, he displays the full range of his vocal spectrum. One moment the man will be growling and singing like a demon and the next sings with the voice of an angel. (I wonder if that’s hoe Miseration came up with their debut title “Your Demons - Their Angels”?) I would say that the vocals are, more or less, on par for the course with “For Aeon’s Past”, which is by no means a slight in any way, it’s just Älvestam’s vocals carry the same awe inspiring presence as they normally do.

Once again, Rolf Pilve creates a wall of sound on the drums. They create a concussive force at times, but also, help add to the rhythm section and serve as a segue for Älvestam during one of his many vocal shifts. They really do a nice job establishing their own identity, but also fit so well with the rest of the team, enhancing the overall sound.  The bass, although present throughout the album tends to offer more of an enchantment to the guitars than having its own role. That’s not to say they don’t have their own niche, it’s just they are more of an additional piece to the larger sound. The keyboards as well, add an additional layer that is noticeable, but not overbearing. So many times, I find that a band trying to add synths to their sound to create more of a melodic atmosphere tend to lay them on too thick and they become more of a hindrance rather than another piece of the puzzle. Fortunately, that is not the case on “Nightmares in the Waking State - Part I”.

So, where do I stand “Nightmares in the Waking State - Part I”? Well, I’ll admit I had my worries that this may just be “For Aeon’s Past” part II, but I was pleasantly surprised with additional effort put in to the songwriting (more varied and exciting riffs and extra blast beats), which in my opinion elevated the band’s sound. I wasn’t expecting much of a change from the debut album and to be honest, I didn’t want there to be, but with the additions Solution .45 put forth on their sophomore album, they have taken the first step in expanding their sound without running the risk of losing their identity. As before, my concerns were put to ease after I listened to “Nightmares in the Waking State - Part I” and can only hope their next album continues along a similar path.

Highlights: “Wanderer From the Fold” “Perfecting the Void” “Winning Where Losing Is All”

Rating: 4

Ivory Spider: Ivory Spider

Ivory Spider is a largely unknown band from Pennsylvania, made up of members of Kidd Nasty. Now, I’ve never listened to any of Kidd Nasty’s work and until stumbling across this 3 song EP, didn’t even know they existed. Other than basic information, I really couldn’t find much about either band.  So, going into this was going to be a completely blind experience for me. The music on Ivory Spider, although released in 2002, is heavily rooted in classic 80’s hard rock/ heavy metal. In fact, if you didn’t know the resale year, you would more than likely have suspected it was released 15 years earlier than it actually was.

In keeping with the spirit of the 80’s, there are some simple, yet groovy riffs to be heard as well as some melodic leads. The rhythms are quite powerful and create a fun, hard rocking atmosphere successfully capturing the 80’s sound (The opening of “We All Need Rock & Roll” for example). In addition, they add an extra dose of heaviness to the mix, with some well-timed, very talented solos on each of the three tracks. The twin guitar combo harmonizes very nicely throughout the three songs, which in my opinion, quickly become the standout of this EP.

The bass is another sound that really stood out to my ears, particularly on the track “Voodoo Man”. The heavy chords strumming along the guitars and drum patterns helped give this song some extra bounce, that had it been omitted, I feel would have just been an average sounding rocker. I don’t want to write off the drums, even if they didn’t exactly wow me. Nothing against them, it’s just their sound is not unlike many of the 80’s hair metal bands that simply created a simplistic beat in the background to allow the guitars and vocals to take center stage. As for the vocals, Chuck Tofsted’s voice carries a particular tone, one that I can only associate with early US power metal acts. They are clean, but not soaring, while at times they can be gruff (see “Voodoo Man”), but not harsh. He has a nice range, one that I would have enjoyed hearing full potential of, had there been more than 3 tracks.

To sum up, “Ivory Spider” may not offer much in the way of groundbreaking material, but what they lack in originality, they more than made up in fun and catchy 80’s inspired metal. I was happy with result of my listen and I think I may try and track down some of their Kidd Nasty material to see what else these musicians have to offer. Perhaps not a home run with the ratings, but given that this is yet another one of the many demos and EPs that have been washed into metal obscurity, Ivory Spider’s self-titled EP joins the hidden gem club.

Highlights: “Voodoo Man” “We All Need Rock & Roll”

Rating: 3.5

Solution .45: For Aeon's Past

When the news broke that, Christian Älvestam was departing Scar Symmetry, I was left wondering what would be next for both the band and Älvestam. Of course, Scar Symmetry would carry onward with two additional vocalists, but what of Älvestam? Fortunately, a band named Solution .45 happened to be searching for the last piece of their puzzle, which just so happened to be a vocalist. A vocalist that just so happed to fit the mold of Älvestam perfectly. And with that, the puzzle was complete.

Now, Älvestam is involved with a number of active bands including, Miseration, The Few Against Many, Torchbearer, to name a few and while it’s certainly not on the level of Rogga Johansson, I was still wondering how much attention he would devote to Solution .45. In addition, I was of course worried that this new outfit would simply be a clone of Scar Symmetry, so their debut “For Aeon’s Past” had a lot to prove in my eyes.

The first thing I will state is that, yes, this does sound a lot like Scar Symmetry. It is melodic death metal with deep and dark passages of music sung with the duel vocals of both an angel and a demon in Älvestam. But, let’s be honest. Älvestam vocals were the major drawn to Scar Symmetry, no matter how you want to spin and as such, his vocals would be the main draw to Solution .45. Älvestam’s uncanny ability to shift from death growls and guttural vocals to clean and crisp cleans is simply beautiful. Unless he were to sing in any other manner (such as Torchbearer’s “Warnaments”), they will always be the standout sound of any band he’s affiliated with.

Those magical vocals are point on display front and center from the very opening of the album and carry on until the very end. The one aspect about this album that had me worried was how much effort would Älvestam put forth. The answer; plenty and then some. These are easily some of his best vocals in my opinion. His growls and low vocals are very dark and energetic, while his cleans carry so much passion and emotion that you can tell he has his heart into the music.

Now, with that said, let’s discuss how Solution .45 differs from Scar Symmetry. As I said, yes this is melodic death metal, but as Scar Symmetry had more of a futuristic almost Sci-fi atmosphere to its sound, Solution .45 focuses on creating a catchy death metal sound influenced heavily by death/metalcore hybrids such as In Flames and Soilwork. This results in a death metal that is both melodic and groovy, without the futuristic sound, and with an extra punch of lyrical composition, which is the major difference between the two bands.

The guitars on employ a twin guitar sound, which allows the band to create some captivating leads and well executed solos. Just about every song shows off Jani Stefanović’s ability as he creates more than one section of dazzling guitar work. Often, his work acts as a build up to either one of Älvestam explosive passages or a segue to one of his many majestic clean sections. I won’t snub Tom Gardiner’s work, as he creates plenty of hefty riffs, that at times, chug along with a thick overtone and at others, carry a groovy sound that plays oh so nicely with both Stefanović’s rhythms and Älvestam vocals.

The drums on this album is varied in both tempo and sound, which creates an excellent pace while complimenting both the guitars and vocals. There are of course, plenty of blasts and bass kicks to be heard, but I was most impressed with Rolf Pilve’s ability to create both a bombastic sound, while immediately being able to temper the mood with the use of a slower pace beats and soft cymbals that ease the listener and also help transition the vocal passages.

Unfortunately, the bass on this album seems to be either a victim of production (not sure how, everything else sounds great) or was simply, not in the overall plans of the songwriting. Don’t get me wrong, it can be heard from time to time, but for the most part, it’s just hanging around in the background, adding a little additional sound.

After multiple listens, it’s safe to say that all of my concerns worries were put to rest in regards to “From Aeon’s Past”. I found myself receiving a healthy satisfaction of the Scar Symmetry I feared never to hear again, which was nice. At the same time, I was also treated to a new and invigorating band that was carried by Älvestam vocals, which leaves me with hope. It really is a win-win situation if you enjoy post- Älvestam Scar Symmetry, which I do, as there are now two bands creating excellent melodic death metal. For me, this album was a huge success and one can only hope future releases maintain the momentum Solution .45 built with “Form Aeon’s Past”

Highlights: “For Aeon’s Past” “Lethean Tears” “Wirethrone” “Bladed Vaults”

Rating: 4.5

Virus 7: Sick in the Head

Virus 7 is a short lived Nu metal/alternative metal band from Sweden, which gain a tiny amount of notoriety due largely to the fact that Mercyful Fate guitarist, Hank Shermann happens to be a member. Now, why would an established musician within the heavy metal community decide to anchor such a seemingly mediocre band? Well, that’s none of my business. I mean, I have no problem when a musician decides to dabble in another style or even a completely different genre. I would imagine most musician have an affinity for other music besides the genre they play and with it, a desire to explore those interests. I suppose c'est la vie.

Justification aside, let’s talk about the music. As I said, the sound here is prime Nu/alternative metal era to the core. The equation: blissfully simple guitar riffs, radio rocking vocals, drums that any Guitar Hero fan could master and a pinch of hip-hop influence thrown into the mix. Even with those simplest elements that most metal enthusiasts balk at, some bands were actually able to create a rather memorable and enjoyable listening experience. I must admit, although Virus 7 lacks much in the way of musical innovation, “Sick in the Head” is a rather catchy album with a few tunes that stuck in my head after I listened.

The first mention has to go to Shermann’s guitars, which aside from his name, bears no real resemblance to his reputation. The guitars, are in fact, simplistic, groove laden, chugging chords that play through the majority of the album. However, they do shine from time to time with an occasional solo and some modern sounding (for the era that is) rhythms that help keep a few songs in particular on this song fresh and interesting. (See my highlights)

As for the rest of the music, well for starters the drums, are pretty much what you would expect. Bare bones and neither establish themselves as a major player or stand out in any sense of being powerful or explosive. They are clearly heard throughout the album, but more so just along for the ride. The bass, believe it or not, actually plays a vital piece to most of these songs, as it’s thick overtone can be heard behind the scenes for the most part. This extra dose of heavy tone really helps the Nu Metal atmosphere by adding an additional layer that is often absent from the genre. As for Edgar Paul Allen’s vocals, I’m indifferent on their overall ability, but I must admit, for this kind of music they fit nicely. Other than perhaps a mid 90’s groove outfit, I don’t think his voice would go over too well in most metal formats, but as I said, for this radio metalish material, they meet the minimum requirement for enjoyability.

At the end of the day, “Sick in the Head” is an underwhelming display of musicianship, but a pretty decent Nu metal album for the time. Those unable to find any joy in the simplistic nature of Nu metal will no doubt toss this record to the trash, but if you enjoyed the sounds of the era, there will be a few track here you might enjoy.

Highlights: “Sick in the Head” “You Better Believe” “Last Chance”

Rating: 2.5

Savatage: Poets and Madmen

Poets and Madmen mark the final chapter for Savatage. This comes at a time when Zak Stevens departed to form Circle II Circle and Trans-Siberian Orchestra was beginning to gain a lot of momentum. With Jon Oliva returning to vocal duties, many were left wondering both, what was left in the tank and what the future would hold for the band? Would Oliva be able to focus of creating an album that would do the Savatage name justice, or was he more focuses on TSO (Or Jon Oliva’s Pain, which was right around the corner)?

This album, which by looking at the cover one would have assumed would be a horror themed, Poe inspired concept. Instead, it tells the tale of a South African Journalist, whom struggles with morals and his own conscience. I suppose it makes sense, but being a fan of horror, it was a bit of a letdown. However, the songwriting more than makes up for the iffy concept. There are a number of excellent tracks, many that vary between progressive, power and even more of an old school speed metal. The emotion Oliva puts into his writing is still on display, which in my opinion, stays true to the Savatage mantra.

As for the actual music, I will start by saying, I enjoyed the Zak Stevens years of Savatage and although they can’t compare to the likes of “Hall of the Mountain King” nor “Gutter Ballet”, I loved “Edge of Thorns” and “The Wake of Magellan”. With Stevens exiting and Oliva back on vocals, I’ll admit that a part of me was hoping for a little classic era sound, even though I knew ultimately they would never be able to fully capture the magic without Criss (RIP) by Jon’s side. Nonetheless, Jon’s vocals are indeed back and although they are not delivered with the same pedigree they once were, they still have the Oliva touch I loved as a kid. His wails still have the ability to capture the listener’s attention and his shrieks, while not as harsh as they once were still carry plenty of energy. His range still allows him to take on deep, heavy rooted vocals, as well as softer low tones to help balance things out. Simply put, this is still Jon Oliva on vocals and yes he’s still has the magic. But, understand that this is Jon Oliva 2003 not 1987.

As for the guitars I will say, there’s no point in trying to compare Chris Caffery to Criss Oliva. It simply is pointless. Criss Oliva was a legend that created music for the gods. A once in a lifetime guitarist. Now, that’s not meant to cast shade on Chris Caffery, who, I feel is a very excellent guitarist. I’ve enjoyed his time on Savatage and have heard some of his solo act (as well as TSO), but if we’re being honest, he’s no Criss Oliva. But, then again, no one is. Caffery’s sound is a little more reigned in if you will, compared to Oliva. What I mean is that, Oliva had seemingly endless spectrum of riffs, leads and solos at his disposal and you never quite knew how magical each would be until you heard them first hand. Caffery on the other hand, although very competent with his skills, seems to deliver a more modern, clean sounding riffs and solos. They are good in their own right and they are very catchy and fit the music on this album quite well, but they feel much more rehearsed and formulaic. With that said, I enjoyed the majority of riffs and solos on “Poets and Madmen”. I felt they were well designed and timed nicely to fit with Jon’s voice and although they don’t carry the same magic as with past Savatage albums, they do carry own sound and identity with some thick and groovy sounds to their structure.

As per usual with Savatage, the drums tend to take a bit to the back seat on this album. Although they are present and never feel washed out, their presence feels more like a supporting role. The bass, at times really pops and delivers a nice heavy and crunchy sound which can really be heard on the track “Awaken”, Of course, Savatage wouldn’t be complete without Jon playing some of his keys and piano, which always gave the ban a little flair, which is exactly what they do on this album. They keys offer an almost industrial vibe at times such as the beginning of “There in the Silence”, while the pianos on “Surrender” help add to the sullen mood of the song. Always a welcome addition to Savatage’s sound, yet never feel forced or over redundant.

With “Handful of Rain” up to “Poets and Madmen”, I had to take a stand on how I would view these albums. At first, I was always trying to compare these albums to their predecessors, which ultimately left me feeling unsatisfied. However, over time, I decided to view these albums through the ears of what a new fan of Savatage might hear, which allowed me to appreciate the music on albums such as “Poets and Madmen” to a much greater degree. Sure, this album has a few blemishes and is not as glorious as “Hall of the Mountain King”, but at the end of the day, I felt it was a nice slab of progpower that still holds up well to this day.

Highlights: "Stay with Me Awhile" “Drive” “I Seek Power” “Man in the Mirror”

Rating: 4

Savatage: Hall of the Mountain King

When it comes to metal, not just power metal, “Hall of the Mountain King” has to be one of the shining moments in metal history. There’s no doubt in my mind that this particular album is one of those landmark albums that helped shape my mind to the world of metal as I know it and if I had to guess, you might feel that way as well. Aside from being Savatage’s magnum opus, this album epitomizes what it means putting your heart and soul into an album. They say, you only get out what you put in. Well, it won’t take long to realize that the guys from Savatage put every ounce of their metal souls into this album, as the output is simply a masterpiece.

First and foremost, this is far and away, the best vocal performance of Jon Oliva’s career. I’ve enjoyed every piece of work of his, be it Savatage, his solo work or even TSO, but nothing will ever live up to “Hall of the Mountain King.” His trademark wails and shrieks once again, share center stage as the driving force of this album. Now, if you’ve listened to Savatage, this is nothing new, but the amount of emotion and passion Oliva poured into his vocals on this album can truly be heard as he belts out his haunting shrieks on “Hall of the Mountain King”. Of course, Jon’s vocal range is very diverse and there is seemingly no limit to his ability. Whether it’s clean singing, deeper raspy vocals or his harsh shouts, his voice sounds perfectly in tune with the atmosphere of the album; dark, dynamic and powerful.

I mentioned that Jon’s vocals shared the spotlight as the driving force. That is because the second of this two headed giant of power metal brilliance belongs to his brother, Criss’ guitar work. Now, I have mentioned Criss Oliva’s magnificent guitar work before, so I won’t heap too much praise that I have for this man’s ability. Criss plays a wide variety of riffs that are simply exuberant, creating a powerful and robust sound, but also maintains a melodic touch that gives each song its own unique characteristic. The guitar tone set on this album is what I would say, the purest definition of heavy metal. It’s a sound that energizes its listener and captivates your attention while sticking with you long after you listen. The solos on “Hall of the Mountain King” erupt with such fluidity and power, yet are not simply bouts of shredding madness. Yes, there are some speedy solos, but others rely on tempo shifts and melodic sounding chords that help showcase both Criss’ songwriting and ability to wield his axe.

I’ll admit, that due to the Oliva’s musical magical they share, that Doc Wacholz’s drums can almost seem lost within such majesty. That may hold true on many Savatage albums, but on “Hall of the Mountain King” they are just as magical and every part as important to the overall sound. The pounding on the titular track sets the tone of the song, establishing a forceful rhythm and energetic pulse that accentuates the Oliva magic. The same can be said for the bass, which is given more than enough spotlight to showcase it’s heavy, yet playful grooves (see the opening of “Legions”), while the keyboards and pianos help create an enchanting sound that only adds to the already mythological atmosphere of the album.

From start to finish, “Hall of the Mountain King is a Tour de Force. Each song carries it own story, one that adds an additional layer to the album as a whole. From the Iron Maiden sounding “Devastation” to the speed metal laced “White Witch” and the cover of Edvard Grieg's "Prelude to Madness". Everything, from the songwriting, musicianship, producing, mastering, hell even the cover art is top notch. When you excel at every facet of creativity, you produced an album such as “Hall of the Mountain King” and you produce one of the pinnacles of heavy metal history.

Highlights: “Hall of the Mountain King” “White Witch” “Beyond the Doors of the Dark” “The Price You Pay”

Rating: 5

Sturdy Taste: Lovely Presentation

What is it about metal demos that always intrigue me? I suppose it is the potential of discovering a band that never gotten their chance to spread their wings and find their own brand of success. Or perhaps, it’s the allure of the hearing music that perhaps only a handful of other people can attest to hearing. Whatever the case may be, I have made it a point to listen to demos whenever I get a chance. I do so mainly with bands that either only ever released such material, but I also search for established bands’ earlier material as well. In my quest, I have stumbled across many bands that have put out demos that have gained high praise. Some, are even considered essential listening or near masterpieces. Conversely, I have also discovered others, that seemingly no one knows they exist. Sturdy Taste happens to be one such band that dwell in obscurity.

Sturdy Taste is a three-piece outfit from Austria that play a brand of old school death metal that fans of Obituary and Death would appreciate. Their lone demo “Lovely Presentation” is an aptly named release, as it is exactly what the demo displays.

The first thing I notice about demos are their production value. Now, to be honest, I don’t understand the process of how production works on demos compare to Eps compared to full lengths, but I generally assume that a demos’ production will be less superior than a studio release. But, that is not always the case. I’ve heard demos that, other than knowing they were demos, would have convinced me that they were studio albums. This is the case on “Lovely Presentation” as in my opinion, the production is spot on. The overall tone is very grimy, yet crisp as the atmosphere of the music is set in a murky sound. In addition, each instrument is clearly audible and is never overshadowed by one or the other. (Although “Perish Now” appears to suffer a little from the production, it’s only in comparison to the other three.)

At times, the guitars on “Lovely Presentation” produce some thick, yet groovy riffs accustomed to the OSDM sound. However, other times they also play catchy, almost melodic rhythms that offer nice variation to the sound, preventing any of the four tracks from becoming stagnate. The drums pound away, creating a nice layer of violence, that although may not sound very unique in comparison to the other OSDM acts at the time, their presence is no less important in creating the thick and murky atmosphere of album. The bass was a nice surprise to hear, as it is one instrument, that I expect may miss the cut sound wise on a demo, but it’s there. It has a very crunchy sound that helps accentuate the guitars and plays nicely in the background throughout. Michael Dietrich’s low and raspy vocals, remind me very much of John Tardy with just a hint of Chuck Schuldiner.

The influence of both Obituary and Death is easily heard within both the music and vocals on “Lovely Presentation”, but there is nothing wrong with playing a little sound worship, so as long as you do it well. Sturdy Taste does just that and “Lovely Presentation” has secured a spot in my “Gems of Metal Demos” club. This demo like so many others, tragically failed to gain any traction, but thanks to the internet, their contributions are not forgotten.

Highlights: “Lovely Presentation” “Unforgettable Punishment” “Braggart”

Rating: 4

Savatage: Edge of Thorns

Savatage. This is one of those bands that had a very big impact on me when I was just getting into heavy metal. I can remember many a Savatage tapes being played on long car rides with my folks, jamming out to the likes of “Hall of the Mountain King”, “Gutter Ballet” and “Handful of Rain”. Another album that was played often was “Edge of Thorns”, one that I know often marks a separate era for the band, one that is rather polarizing among the fan base.

It was “Edge of Thorns” that we saw Jon Oliva take a step back from the musical side of the band (although he did add some work on the pianos and drums on a couple tracks) and focus more on the creative side. Although, Oliva’s voice might be absent, I feel his creativity is still very much on display throughout “Edge of Thorns”. This would also mark the beginning of the Zak Stevens era on lead vocals, another reason this era tends to divide fans. Now, it is very tall order to have a new vocalist step in and take over for a long time singer. This transition does not always go over well, but there have been noticeable successes in the past such as AC/DC or Black Sabbath when it came to passing the torch as to speak. With that said, I prefer Oliva over Stevens, but I’ve always enjoyed the Stevens era of Savatage. “Edge of Thorns” would also and sadly, be Criss Oliva’s final work, as he tragically died in an auto accident less than a year after the release of “Edge of Thorns”. Some point to this very moment as the beginning of the end of the band, as I can’t imagine how I would feel if either of my brothers were taken from me earlier, but the effect it had on Jon would resonate for years.

Now, I will say that this album tends to suffer from a lack of the theatrics that the band had been known to conjure up such on albums such as “Hall of the Mountain King” or “Gutter Ballet”. The bombastic passages the Oliva created with both his voice and songwriting are not as present as previous works, while the overall sound is akin to what Zak Stevens would continue on with Circle II Circle. That being said, I understand the divide that this album created among fans, as the trademark sound of Savatage has shifted to a more accessible sound that seemed to fit the sound in the early 90’s metal scene. On the other hand, if you enjoy Stevens’ voice, “Edge of Thorns” is still be a very enjoyable album.

Staying on the subject of Stevens, let’s talk about his singing. Personally, I’ve always been a big Zak Stevens fan. I enjoyed his work with Circle II Circle, which of course, would mean I enjoyed his time with Savatage. I don’t view “Edge of Thorns” as a Savatage album without Jon Oliva, but rather a Savatage album with a different approach. Yes, I miss Oliva’s wailing, but Stevens has a strong voice, one with enough rasp and grit to carry a heavy vibe, but also a melodic tone as well. This allows Stevens to sing with the power that Savatage generally brings to the table, but also gives him the freedom to showcase his midrange vocals as well as his softer side to his voice.

Criss’ guitar work over the years leading up to “Edge of Thorns” was nothing short of magical. I can’t recall how many catchy and memorable riffs the man created in his career, but the number is staggering. His ability to hook the listener with interesting time shifts and sublime leads is nothing out of the ordinary for his legendary ability. Such ability is easily detected on “Edge of Thorns” as there are countless riffs that create both heavy and melodic characteristics, which stick in your mind well after the song ends. His solos are excellently timed and fit perfectly with structure of the songs, often giving them an almost progressive nature to their overall structure. The rhythmic groves and his ability to harmonize them with the rest of the instruments creates a very complete sound the overall atmosphere, but also allows Stevens’ vocals to come to the forefront of the music. That is quite possibly, what I admire most about the songwriting is how they all for Stevens’ vocals to shine, all the while keeping the instruments center stage each and every song.

Doc Wacholz, once again, displays his drum mastery on this album. The pounding beats enhance the guitars and pianos, while carving out their own powerful niche from song to song. They too, have the ability to shift speed and tempo to allow for both the proper harmony within a song, but also, take hold of a song and become its driving force. The bass fits nicely in the overall sound, lending a loud, crunching tone that compliment many of the guitar leads.

My biggest complaint with “Edge of Thorns” would be the excessive amount of ballads present. I understand that power ballads were still big in the early 90’s, but I felt this album would have been stronger as a whole with simply one ballad, which would have complimented the two instruments. Songs such as “Sleep” and “As I Bleed” feel like unnecessary filler, that neither add or take away from the atmosphere of the album, but rather seem to just be there for the sake of being there.

At the end of the day, “Edge of Thorns” despite the excessive ballads, is a solid addition to the Savatage legacy. I can see both the praise is disdain this album draws and while everyone is entitled to their personal tastes and opinions, I’ve always enjoyed “Edge of Thorns” not for what it could have been, but for what it is: a catchy, talented showing of power metal.

Highlights: “Edge of Thorns” “Miles Away” “Degrees of Sanity”

Rating: 4.5

Perpetua: Irrational

I remember perusing random CD’s in the “Rock” section of my used record shop, which was where the majority of metal albums were lumped into. As I searched the spines of the hundreds of jewel cases, I was always mindful to keep a watchful eye for any record labels that stood out. Roadrunner, Century Media and Nuclear Blast were always easy to spot, but so to was Pavement Music. Upon one of my many blind searches through the CD bins, I happened to spot the yellow Pavement Records symbol and pulled it out to discover a band I’d never heard of; Perpetua. The album would be, “Irrational”. Now, going solely on the record label alone, I was sure this would be some sort of metal, more than likely death metal and when I got home, I discovered I was right. I purchased “Irrational” back in 2002 and I knew very little about the album or the band. Fast forward to 2019 and I know just as much now as I did then. The little that I have read is that they play a blend of Industrial and Death metal, so naturally I was intrigued.

Perpetua do indeed play death metal in vain of Fear Factory’s “Soul of a New Machine” (more on that later) with a few hints of Sepultura added in (through the use of tribal sounds the band employ occasionally). Now, I must say, there are industrial elements to be heard on this album, but their inclusion seems to be more of an afterthought as opposed to one of the sounds being blended to create the music.

As for the music itself, this could almost pass as “Soul of a New Machine’s” step brother. What I mean is that, the guitars heard on “Irrational” are very similar to the down-tuned, distorted sound that Fear Factory employed on their debut, chugging along with groovy sound riffs., The bass, on the other hand has a nice pop, which stands out and helps create a dark atmosphere along the heavy plodding guitars. (The opening of “One Time” displays the potential the bass had on this album) The drumming lacks the punch needed to bring forth the old school death metal sound the band attempts to play and fails to make much of an impact. As a whole, the music moves along from song to song with the same mid paced tempo, relying heavily on the crunching guitar sound and simplistic drumming, which helps showcase, Jorge Vázquez’s vocals.

Speaking of vocals, I must say, all I hear is a mix between Burton C. Bell and Mark Greenway from Napalm Death’s “Fear, Emptiness, Despair. Now, Jorge Vázquez, may not get any points for an original sound, but I happen to like the two vocalist he sounds like, so I don’t think that’s necessarily a bad thing. Unfortunately, his vocals tend to become the focal point to often for the wrong reasons, as the music grows tiresome over time.

The lack of variation throughout the album is more than obvious by the half way point. I feel, had the band spent a little more time in the song writing department, added some more intriguing riffs and rhythms, beefed up their drumming and actually employed more of the industrial sound they were advertised to play, this album could have, at worst, been a cheap “Soul of a New Machine” clone. Instead, this became a one and done, bland death metal that explains it’s discovery within the discount bin at the record shop. Fans of the obscure may find some enjoyment out of “Irrational”, but other than die-hards, I can’t rationally recommend this album.

Highlights: “One Time” “Denied”

Rating: 2.5

Samson: Head On

I heard about the band Samson some years back and while I had heard mixed reviews about their body of work, I’m not one to pass up a little old school NWOBHM. That being said, Samson was not very high on my priorities list of albums to listen to, that is until I read about “Head On”. I, as I would imagine many others, were immediately drawn to this album purely due to the fact the this was Bruce Dickinson’s debut album. Yes, Iron Maiden, legendary singer, Bruce Dickinson. See, that grabbed your attention, no? Well, that was the similar review I read about the album, so naturally, being a huge Maiden and Dickinson (Solo) fan, “Head On” had to get bumped to the top of the to do list.

Now, as I said, Samson was one of the early NWOBHM acts, release their debut, “Survivors” in 1979 with Paul Samson on vocals. Although Samson would continue his work with vocals, albeit backing vocals, the band would eventually decide to settle on a lead singer. Of course, their sophomore album would feature none other than, Bruce Dickinson, who would use the moniker of “Bruce Bruce”. I don’t want to get into the entire history of the band, but they would go through a number of lineup changes over the course of their career, which went on long after the two albums fronted by Dickinson. Their success is not what we’re here to review, so let’s get on with the music.

The music on “Head On” is a very early rendition of NWOBHM, which, as you would expect, has a heavy dosage of hard rock with just a little extra kick to its sound. There is plenty of 70’s hard rock elements to be heard throughout this album, but like early Saxon and Judas Priest (Sin After Sin) this is heavy metal in its purest form. The guitars, in my opinion, are what stand out the most on this album (sorry, Bruce). The tone is much heavier than your average hard rocking sound, but at the same time, are able to create powerful melodies and melodic rhythms that give NWOBHM it base sound. The passages Paul Samson creates from the opening leads into the playful riffs are a very nice display of not only the guitar work, but a tribute to the songwriting as a whole. This transition, if you will, of the guitar sound allows the spotlight to be shone on Dickinson, but do so in a way as to not become lost in the translation.

As for the drums, well, I can’t say they are anything on the level of what other NWOBHM acts such as Saxon or Demon were able to create, but they standout in their own right. The tapping of the snares are a little too poppy at times, but they carry elements of the 70’s hard rock era in their sound. The same can be said for the bass, which has a strong presence on the album, but I feel, plays more of a compliment to the guitars as opposed to trying to have its own sound.

Of course, there are Dickinson’s vocals. Now, for those expecting Iron Maiden style vocals, you won’t find them here. That is to say, you won’t hear the majesty that Dickinson displayed on Maiden, but that’s not to say you won’t recognize who is singing. Far from it. On “Head On”, Dickinson sings with power, but the style of music the band plays did not call for him to reach the higher pitches and grittier style vocals that would become his trademark in the coming years. Instead, he sings with a very hard rocking, melodic sound that are similar to the pre Rob Halford vocals (his trademark sound that is) on the earlier Priest albums. Are they catchy? Yup. Do they sound crisp and clear? Yup. Are they Maiden? Nope. And that’s a good thing because I don’t think the vocals heard on “Powerslave” or “Piece of Mind” would have work on this album. Instead, the vocals are tailored to the sound Samson was playing at the time and in my opinion, they fit perfect with that overall sound.

 I enjoyed “Head On” more than I would have expected and even though there are some tracks that are less than stellar, as a whole this is a nice little piece of NWOBHM. Songs such as “Hard Times” and “Man Watcher” really display the aforementioned abilities of the songwriting and musicianship. The song “Take me to you Leader” comes off as a little sillier, but still carry a nice rhythm and I would say, show off the most Maiden-esque vocals on the album from Dickinson. I have yet to check out any other Samson albums, but aside from “Shock Tactics” (the other Dickinson fronted album) I do intend to listen to a few of their other works. Other than the Dickinson drawn, those looking for that fun, catchy NWOBHM sound should check this out.

Highlights: “Head On” “Vice Versa” “Man Watcher”

Rating: 3.5

Matthias Steele: Haunting Tales of a Warriors Past

I remember the first time I heard Matthias Steele’s “Haunting Tales of a Warrior’s Past” on Youtube a few years back, but could only find a copy of cassette online, which was going for some price that I was unwilling to pay. Fortunately, Minotauro Records decided to reissue the album and a reasonably priced CD became available. (Off topic, but I have to mention, I was disappointed with the cover art being changed to a more comic book drawing as opposed to the original work that looked like it was pulled from early Magic the Gathering.)

I’ll admit, when I was a kid, anything related the Christianity and heavy metal was an immediate turn off, but as I’ve grown and matured, I try not to let any views or opinions sway me from at least giving an album a try. Anyhow, Matthias Steele play a very catchy brand of power metal, that although is rooted in Christianity, is not a constant “praise the lord” style of worship by any means. Make no mistake, this is a heavy metal album through and through and the lyrical themes taken nothing away from its brilliance.

As for the music, the first thing that will grab your attention are Anthony Lionetti’s vocals. This man can sing. His range is incredibly wide and he’s not afraid to let it loose on “Haunting Tales of a Warrior’s Past”. Whether it’s a high note, a low note or holding a note over a period of time, Lionetti does so flawlessly. Now, I don’t know the history of the band or its members, but as far as I can tell, Matthias Steele would be Lionetti’s only outfit he would be a part of, which is a shame. His soaring vocals could have easily risen the heights of Russell Allen, Fabio Lione or Andi Deris had he continued walking the path of heavy metal.

Throughout the album, the guitars quickly hook the listener with their ability to create catchy riffs and strong leads that help set the stage for Lionettis’s vocals. They play both a very up tempo style in vain of the classic US power metal mold, but also slow things down to provide an almost progressive element, which often build into an anthemic chorus. The same can be said for the acoustic guitar, which easily has the same effect to set the tone for a particular song. This can be heard on “Shadow of Illusion” when the acoustic kicks things off with a subtle, yet strong opening, which slowly builds until the electric guitar enters (along with the bass) and generates a memorable display of riffs and rhythms. This may also be Lionetti’s best work on the album as to this day, I still find myself singing “In the corner of my eye” aloud at random times.

As I mentioned, the bass is also a key player in the overall sound, playing nicely with the guitars especially when the band incorporates a nice solo (although there are not many). The drums are often front and center, which is often an issue with production (sometimes making them pop too much and leads to overshadowing the guitars), by they lend a nice dose of speed metal ala Blind Guardian to the overall sound. Despite a few sound flaws, all the instruments can be heard throughout the album and they harmonize nicely along with Lionetti’s vocals to create some very crisp sounding power metal.

Don’t let the Christianity tag sway you from picking up “Haunting Tales of a Warrior’s Past”. This is one of those shamefully overlooked power metal albums that got lost in the shuffle. One listen will explain why it was a shame these guys were moribund for 25 years after this release. Power metal fans rejoice.

Highlights: “Magick Wand” “Shadow of Illusions” “Return with a Vengeance”

Rating: 4

Onslaught: Power From Hell

“Black Metal”. “To Mega Therion”. “Obsessed by Cruelty”. These are all albums that are generally mentioned when the discussion of the early black metal comes up. Each album is rooted in a very filthy, raw blend of thrash metal with elements of what would later go on to become black metal (and death metal). However, not every band that played this style of “proto-metal” would go on to shape worlds so to speak. One such band, would be Onslaught. The Album: “Power from Hell”.

Hailing from the UK, Onslaught joins the list of bands that dabbled in the mixing of early thrash and black/death elements both in sound and imagery. The music on “Power from Hell” is typical of the proto sound; filthy, raw, fast thrash metal with that extra ingredient of “proto”. The guitars play with a high speed relentlessness that is thick and sinister, creating both heading banging riffs and catchy rhythms. The bass is very murky, creating a nice layer of sound the compliments the guitars and adds to the overall dark and demonic atmosphere. The drumming, while nothing above and beyond, play a very up tempo, pounding and crashing style that drive the songs forward with non-stop force. “Thermonuclear Devastation” is a finer example of the relentless drums and speedy guitars while the epic “Onslaught (Power from Hell)” reflects on the it’s dark and demonic style the proto-black/death metal sound was built upon. Skullcrusher I&II are both instrumental, but I feel display the best of the albums production, as each instrument plays a vital role within each song, and each instrument highlights just what they bring to the table.

Now, Paul Mahoney is the main vocalist however, Nige Rockett fronted the tracks “Death Metal” & “The Devil’s Legions”. Mahoney’s vocals are very rough and have a certain grit to their sound, which reminds me a bit of Venom’s “Black Metal”. They help define the character of this album, being dark and primal in nature. As for Rockett, I really enjoyed “Death Metal”, but his voice sounds a little too crisp and higher pitched, which tends to take away from darkness from which that band dwelled. I would say his vocals would fit the sound of a more, straight forward thrash sound.

“Power from Hell” may not be a perfect album, but it was one of the handful of albums at time that explored new territories in metal. Onslaught may not be mentioned as often as some of the bigger players of the time (as their sound would change in the near future), but “Power from Hell” is more than deserving for a nod of appreciation. Either way, for fans of a nice primordial thrash attack or those looking to add to their early black/death metal experience, go ahead and pick this up.

Highlights: “Onslaught (Power from Hell)” “Angels of Death” “Skullcrusher I&II”

Rating: 3.5

Necronomicon: Pharaoh of the Gods

Death metal? Check. Egyptian themes? Check. Nile? Nope. That’s right, along with Apophis, there were a few other acts near the end of the millennium that were pumping out fantastic Egyptian lore mixed with death metal. That being said, this fascination with Egyptian mythology was not some sort of, wide based movement that was all the rage. It was rather, a niche within the niche of death metal, but those who entered that realm seemed to have success with the formula. One such act was the band, Necronomicon.

Now, although their album “Pharaoh of the Gods” would indeed fit the Egyptian death formula, the band itself was not permanently rooted with such theme. Their overall lyrical concept would consist of various mythological themes such as Native American, as well as occult and Lovecraft material. However, although this may be the only truly Egyptian immersed album the band has released, it easily ranks in one of my top picks for the themed content.

First, the music on “Pharaoh of the Gods” creates a very dark and “Egyptian” sound with pounding drums and crushing guitars as well as addition sound effects such as the rainstick. However, aside from a few traditional Middle-Eastern sounds, the band dose not solely rely on those effect to create their sound. Instead they focus on producing crushing death metal first and foremost with said effect added to the mix to help create layers to their overall atmosphere. 

The Drums play at blazing speeds with a level of power that is present throughout the album,  while the guitars match their ferocity every step of the way. The guitars are very thick and help create heavy rhythms and chugging riffs, but there is more to their sound than just power. As I said, the tone and tuning of the guitars, when harmonizing with the drums and Middle-Eastern effects, helps transport you to the base of the Pyramids as they do an excellent job inspiring the Egyptian imagery “Pharaoh of the Gods” is built upon. That, along with both very guttural vocals and the inclusion of clean, female vocals on a few songs, really bring the music together into a cohesive product.

“Initiation” is a perfect example of how the band pulls all these elements together. The song opens with some subtle effects, that lull you into a peaceful state and then suddenly, an explosion of drums and guitars rain upon you. Not long after, Catherine Leblanc’s hypnotic vocals enter the fray and add some nice contrast to the energetic environment. The, you get the first of many catchy riffs and then, Rob Tremblay’s vocal take command. It’s the combination of every instrument, effects and vocals that give this song and the album itself its identity as well as, breathe life into the Egyptian theme.

This is not a Nile clone and if I’m being honest, Nile plays the formula to a much better degree. What Necronomicon displays is an affinity for the Egyptian mythology that they decided to included their interests into their music. Overall, “Pharaoh of the Gods” may not appear on the top 100 lists of death albums of all time, but what they provided here is a quality release, both in songwriting and musicianship.

Highlights: “Initiation” “The Guardian” “Revelation”

Rating: 3.5