ALBUM REVIEW: Jag Panzer, “The Hallowed”

By: Richard Maw
 
Album Type: Full Length
Date Released: 23/06/2023
Label: Atomic Fire

 
“The Hallowed” CD//DD//LP track listing:
 
1. Bound As One
2. Prey!
3. Ties That Bind
4. Stronger Than You Know
5. Onward We Toil
6. Edge Of A Knife
7. Dark Descent
8. Weather The Storm
9. Renewed Flame
10. Last Rites

The Review:

Jag Panzer are an American powerhouse of power metal… but also of trad metal… and even thrash elements. In fact, it’s not so easy to label the band as ‘this’ or ‘that’ as they are their own entity. The band got a great start in 1984 with the classic “Ample Destruction”, but then effectively went on  hiatus for a decade. If 2Ample Destruction” had been unbridled youthful aggression, then later albums were much more sophisticated, varied and subtle.
 
In fact, it must be noted that when I refer to ‘power’ metal, this US variant (USPM) is very, VERY different from its European cousin; it’s leaner, meaner and much weightier. This time around, Jag Panzer have gone with a full concept record. They aren’t strangers to this, having told the story of Macbeth back in 2000 with a “Thane to The Throne”, but all the same, 23 years separates the releases, so this is a welcome return.
 
However, this time around the band have looked to a post-apocalyptic future rather than a literary past. The record tells the story of a group of intrepid survivors, battling the landscape, hunger and predatory beasts as they seek survival and redemption. It’s startlingly well put together. The story, concept, spoken word interludes and most importantly the songs are fully realised and presented with utter conviction.
 
One thing that really jumps out at here- from the first beat- is the production. Yes, the legendary Jim Morris mixing the record helps, but the main point of note is that this sounds like a metal band, recorded in the studio- but not relying on technology and computers. The drums sound, well, REAL… like a proper drum kit played in a proper studio by a proper drummer. Rikard Stjernquist, take a bow- ably complimented by John Tetley’s convincing bass. The rest of the band turn in equally vital performances, brimming with fire and life. Harry ‘The Tyrant’ Conklin’s voice is one of the best in the genre and his vocals here are soaring, operatic, pitch perfect and full of grit and conviction in equal measure.
 
While Chris Broderick played on the deliciously dark “Casting the Stones” albums before exiting for Megadeth, his presence is not missed here (nor on the EXCELLENT “The Scourge of Light” back in 2011). Ken Rodarte does a superb job with some real guitar pyrotechnics, while band lynchpin Mark Briody delivers riff after riff.
 
As for the songs themselves, as a concept album it is hard to pick stand outs as they all depend on each other for the story. That said, “Stronger Than You Know” is superb, “Prey!” “Dark Descent” and “Onward We Toil” all offer something different from each other and all showcase the best aspects of the band and album. I think that every track here is better than anything on 2017’s “The Deviant Chord”- which was still a more than decent album!
 
This is an excellent and entertaining metal album; it’s uniformly strong, packed with personality and fiery playing and will please fans of such bands as Iron Maiden, Manilla Road, Iced Earth, Cage, Judas Priest, Helloween, Dio, Dio-era Sabbath etc. It’s grand, gritty and extremely self-assured. A masterclass in real and unique power metal.
 
“The Hallowed” is available HERE 

Band info: Facebook

LIVE REVIEW: Sellsword supported by The Mighty Wraith and Iron Void @ The Fulford Arms, York, Saturday December 10th 2022

 By: Richard Maw

The Review:

York on a Saturday night in December, during the World Cup… will there be a crowd?! The answer, thankfully was: YES.

The Fulford Arms is a live venue- it’s not really a pub with a stage- it is a venue with a bar. This kind of venue is the lifeblood of the music scene, and they must be kept alive. It was immensely gratifying to see it packed out. Rammed. Standing Room only. Full from front to back.

Now, with Sellsword hailing from York and Iron Void being from Wakefield, a crowd of some kind would be expected, but to see 150 metalheads crammed into a Northern local venue show on a weekend at a time that England were playing in a World Cup quarter final was a throwback to the halcyon days of live metal. It warmed my heart of steel.

Iron Void opened things up and played some older classics like “The Devil’s Daughter” alongside some superb new material from their forthcoming “IV” album- out in January on Shadow Kingdom Records. “The Tolling Bell” was a vampiric number of impressive weight. Having once played in the band, I was glad to hear “Lancelot of The Lake” played with such aplomb- and moved that it was dedicated my way. The band sounded really cohesive and the vocals of Sealey and Steve Wilson sounded great over the PA. The technicality of Scott Naylor behind the kit is a welcome expansion of the band’s sound and the setlist was well paced with enough gallop to win over the crowd and enough weight to satisfy any doom diehards.

The crowd at The Fulford Arms were there for faster paced trad and power metal, so for a doom band to go over as well as Iron Void did was a triumph. By the end of the set hands and horns were raised on high. Iron Void are often unsung heroes of the doom scene in the UK. That must change.

The Mighty Wraith were up next in a kind of special guest slot that saw the style of metal move closer to the headliners. The boys from the West Midlands- the heartland of metal- did not disappoint. If you’ve not heard them, the band are traditional metal powerhouse with wailing vocals, thrashing drums and razor-sharp guitar work. If you think Maiden crossed with Priest with a hefty dose of US power metal grit then you’d be on the money. In charismatic frontman Matt Gore, the band have something special. He really brought the street level grit of a prime Paul Di-Anno and the theatrics of a Rob Halford to the crowd.

The band’s second album “Elegies” has been out for three months now and the material displayed from it sat really well with the crowd. As a measure of the confidence the band displayed, they threw in a great cover of “Bark At The Moon” and closed with a very unexpected run through of “The Number of The Beast”. The fact that neither of these tracks outshone their own work is testament to the band’s quality. There is simply nothing here not to like; great band and frontman. If you haven’t seen them, watch out for them. Big things ahead.

Sellsword play power metal in a more European style- that is to say it is symphonic power metal. It’s fun, sing along and technically challenging stuff- it requires total confidence and belief to pull off in a live context. Fortunately, I found the band even better live than on record- the softer textures of their albums were stripped away to reveal metal forged in the hottest of furnaces and un-tempered by synths.

Sellsword took the stage just after 9.30pm with a portentous intro tape and a look of steely confidence. New frontman Nathan Harrison (of excellent doom band The Human Condition) has been installed only for a couple of gigs prior and with this being a hometown show for the band, the stakes were high.

Fortunately, Harrison was up to the considerable challenge. From the moment he took the sword shaped mic stand (!) he got the crowd on his side. The whole band was tight- incredibly tight. The muscular bass playing of Tom Keeley laid a concrete foundation for the fleetfooted rhythms of drummer Tom Warner. Meanwhile, the dual lead guitar team of Stephenson and Keeley matches any out there; Denner/Sherman? Tipton/Downing? Mustaine and whoever it is this week? Yep, these boys are right up there with them. They were astonishingly deft in delivery and performance- way above the quality I have ever witnessed in a small venue type show before. Astounding.

The band laid waste to the venue with energetic opener “Blackened Sky (pt 1)” and then continued doing exactly the same with “Sagaborne” and the band’s eponymous signature song. Harrison’s vocals were never less than masterful and he hit the notes imperiously- with some real Halford/Ripper style screams added into the mix. Points must also be added for the wearing of a Jugulator t-shirt.

Sellsword really pulled out all the stops with the setlist, rolling out second album title track “Unto The Breach” along with “Pendragon” and “Inquisitor”. The heavy hits (mace blows?!) never stopped coming. The encore brought something special- former band members Stuart Perry and Jacek Mazur took the stage and Perry and Harrison duetted on “Merchants of Menace” with Mazur bringing added guitar pyrotechnics which flayed and pounded the audience’s flesh until the tank was emptied. Bring on album number three, lads.

The hour and a half show was superb throughout and the crowd loved it. Heads were banged, ale was quaffed, victory was delivered and the whole experience was preferable to when original long haired troublemaking Vikings descended upon York over 1000 years ago- excitement and adrenaline without the violence and death. This was the best small show I’ve been to in years and every band brought something unique and impressive to the table. Heavy metal is alive and well. With bands like these around, it will be in good health for years to come. 

ALBUM REVIEW: Ashes of Ares, "Emperors and Fools"

By: Richard Maw & Nathan Harrison

Album Type: Full Length
Date Released: 21/01/2022
Label: ROAR! Rock of Angels Records

“Emperors and Fools” CD//DD//LP track listing:

1. A City in Decay (Intro)
2. I Am the Night
3. Our Last Sunrise
4. Primed
5. Where God Fears to Go
6. Emperors and Fools
7. By My Blade
8. What Tomorrow Will Bring
9. The Iron Throne
10. Gone
11. Throne of Iniquity (CD Exclusive Track)
12. Monster’s Lament

 The Review:

 Ashes of Ares return - as the duo of Matt Barlow and Freddie Vidales - but also, confusingly, with Van Williams still handling the drums. Williams has left the group as a member but has played on the album (as he did for the previous two records) so...things essentially carry on the same. Vidales once again handles bass and guitar duties while Barlow handles what can only be described as his majestic vocals.

Every once in a while, an album comes along that is worth more than the run of the mill review and this is just such an album. My close personal friend/comrade in metal/musical associate Nathan Harrison has volunteered to share the burden here...

Ashes of Ares are a supergroup of sorts - both Barlow and Vidales have done time in Iced Earth, so yes this is power metal, but it is even more than the sum of its parts. The first AOA album was a sombre affair shot through with darkness. The second record, “Well of Souls”, had more light and shade (reviewed by the pair of us at the time) but lacked a little in killer tunes.

This time around, of course, Iced Earth is presumably over as a band - the less said about that the better. Ashes of Ares standalone then, not as an offshoot but very much as a unique entity. First impressions? This is killer. Plain and simple. I think it's the best of the AOA albums so far and the other two were pretty damn good.

This time around? Let's dive in...

RM: Grandiose intro, “A City in Decay”, sets the tone - it's dramatic, bombastic and indicative of what is to follow.

NH: It’s also cleverly shot through with a simple melody that recurs in an altogether different form in the following track, making for a cohesive and epic opening salvo. 

RM: “I Am The Night” is a perfect mix of US power metal and thrash. The production is excellent - clinical, modern, state of the art, very well mixed. Barlow's vocal layers are numerous and incredibly well executed. The instruments are expertly played - I just can't fault it.

NH: What an opener! It does what Ashes of Ares do best – pummelling riffs form a cacophony that only a voice as unique as Barlow’s could convincingly punch through and it makes for a truly unique sound. Barlow flexes his nerd credentials here as well – following the last album’s “The Alien”, which told the story of Superman, we’re now presented with a track about the darker side of the DC Universe – Batman! A perfect partnership of tone and theme.  

RM “Our Last Sunrise” is frenetic and is the kind of track that AOA's alma mater should have been making over the last two decades instead of some of the ropey material that was actually put out. This material is notably more aggressive than the previous two albums (for the most part). It's direct and it rocks hard. The guitar work shines here.

NH: Frenetic is definitely the word, especially when it comes to the verse, with Vidales showing off some exciting, engaging riff work. The pace slows down a touch for a barnstormer of a chorus, Barlow’s iconic layered vocals as incredible as ever.

RM: “Primed” is more downbeat - perhaps closer to the first album - and is another winner. The band take the foot off the gas and Barlow's lower register is put to great use...until the accelerator is pressed. Again, it's a fairly weighty power metal composition with epic high notes reached by Barlow and a lot of changes in the instrumentation and dynamics. 

NH: Some really interesting call-and-response style vocals throughout this one make it a standout, allowing Barlow to make impressive use of almost every aspect of his mighty vocal range. The dynamics are a highlight here too, the force and weight of the segue back into the chorus after a suitably shreddy solo from Vidales is truly impressive.

RM: “Where God Fears To Go” - ANOTHER weighty slab of heaviness. This is now shaping up to be the kind of album that metal fans really wanted from the band. It's pretty relentless; pounding double bass drums, Barlow employing all octaves at his disposal and double (or more) tracking the vocals. It's powerful and neck snapping.

NH: This one fits a lot into its 4 and a half minutes and, by this point in the album, it becomes clear that “Emperors and Fools”, in terms of production and general mood and feel, is very much cut from the same cloth as “Well of Souls”, but is leaps and bounds ahead of that album as far as the performances, song writing and sheer ambition are concerned. Also, that note at the end…how does Barlow still do this?!

RM: “Emperors and Fools”. As you might expect, this is a dynamic track without light and shade. As a title track it's relatively restrained. Acoustic and electric intro, Barlow crooning convincingly. Effectively, it is a power ballad- it would fit onto any previous record but once again the delivery is so convincing and committed that it works exactly as it is supposed to.

NH: This one has shades of some of the quieter tracks on the two Iced Earth “Something Wicked” concept albums –  complex electro-acoustic guitar lines pepper the verses before giving way to a wall-of-sound chorus that sticks in the head after just one listen. Barlow’s lower-mid register gets a good workout here and it’s just as rich as ever.

RM: “By My Blade” - here we have it! For me, the best track on the album, the best track the band has done and one of the best metal songs I have heard in a long time. This has it all: riffs, hooks, energy, performances... it is all present and correct. Superb. Faultless. Barlow's delivery with high and low vocal tracking over the bridge and chorus is spectacular. It's kind of an adrenaline and fantasy infused companion piece to the excellent Punishment from the debut.

NH: Stand back – this one goes off with a bang! Agreed that this is the best track on the album – an absolute standout that shows off the sheer power and prowess of all three musicians involved. Every transition between the different aspects of this song absolutely rips, but the move from chorus back to that searing main riff is grin-inducing. Ashes of Ares are way overdue some live shows regardless, but this track in particular is simply begging for a playthrough. Another iconic character forms the subject of this song, this time Marvel’s Blade. This fellow comic book fan approves, Matt!

RM: “What Tomorrow Will Bring” is more restrained and the quiet intro allows nerves to settle and the shear rush of the previous track to recede. It progresses very nicely into a mid tempo stomper, though. Syncopated beats through the verses add excellent variety and again the hooks are strong here. In fact, the hooks are really strong - it's a positive track and delivered masterfully.

NH: One of the highlights of the album here and a real moment for Van Williams to shine – so many little details and accents stand out making for a hugely fun approach to what could have been a simple and straightforward catchy track.

RM: “The Iron Throne”. Epically crushing intro. This is high drama at its finest. The riffage here is just... magnificent. The notes that Barlow hits are truly awe inspiring. This track is another absolute rager. The lead work is sublime - supplied by a couple of guests (take a bow gents).

NH: Another well known fantasy forms the basis of this track, but its themes are universal – power, betrayal, war – and it makes for a compelling listen. Pinpoint precision double kicks from Williams form a tight lockstep with Vidales’ fretwork, forming a rock solid backing for Barlow’s relentlessly brilliant vocal acrobatics.

RM: “Gone” - we are into ballad territory again here, but still with some real weight to it and the delivery is absolutely committed and top notch. These type of tracks are never going to be my favourite on a record like this, but it's still a dark and effective song with wonderful lead work.

NH: It says a lot about Ashes of Ares’ approach when even their ‘ballads’ contain almost exclusively distorted guitars chugging away powerfully, some up-tempo sections and Barlow screeching his nuts off at every suitable juncture. This is powerful stuff, with a memorable and emotional chorus, carried beautifully by Barlow’s unique timbre.

RM: “Throne of Iniquity” - previously released as part of an EP, this is a CD only track and is ANOTHER winner. Strong rhythm section work forms the bedrock, but then the song goes off into dark and tumultuous territory, followed by serious grooves in the riffs. It's a winner and really set the tone when it was released for the rest of the album. It was a great indicator of the majesty to come.

NH: A masterclass in how to build and build and BUILD over the course of a song – as the song progresses, there’s just more and more going on until it reaches one hell of a climax that pays off everything that has come before within the track. Stunning.

RM: “Monsters Lament”. The epic finale. Having kept most of the compositions pretty tight throughout, Ashes of Ares now deliver an eleven minute epic which features not only Matt Barlow operating at the peak of his powers but also Tim Ripper Owens at the peak of his. If Iced Earth fans had wondered what each ersthile vocalist would sound like if they joined forces then they can wonder no more. This is a sprawling, massive, aggressive, headbanging track. I have a great deal of time for Owens as a vocalist and he absolutely delivers in spades here. His high notes and untouchable, his delivery impeccable. The same can be said of Barlow, who seems just ageless in terms of voice and energy. It's an aural feast, a sonic treat and an incredible way to end this monstrous album.
 
NH: ‘So good to finally see an old familiar face’ – if lyrics can be described as meta, then this one certainly fits the bill, as two former Iced Earth singers join forces for the first time. Hearing both of these incredible vocalists on one track is certainly a thrill and each delivers a bravura performance, but each singer’s lines are mostly kept separate from each other – it feels like a little bit of a missed opportunity to not have had Barlow and Owens layered on top of one another at more points, both screaming into a massive crescendo. The song itself is also a bit meandering rather than making effective, convincing use of its 11 and a half minute run time. Not quite a damp squib to finish the album, but not the atomic level blast it should have been.
 
Conclusions:
 
RM: For me, this is easily Ashes of Ares best record and will undoubtedly be THE power metal album of 2022. In fact, whisper it now, it will be VERY difficult for any other metal band to surpasss this. I think it's that good. It's epic in sound and scope but razor sharp in its focus. It is relentless in its quality and manages to sustain complete interest over the course of one hour of music. I can't quite believe how good it is.
 
NH: After two quite different albums preceding it, “Emperors and Fools” seems to represent a band of accomplished and experienced musicians finding their sound and adopting it with confidence and charm. The sonic approach of the second album combined with the outstanding song writing of the first makes for the best of both worlds and an incredible listen throughout.

“Emperor’s and Fools” is available HERE

Band info: Official | facebook

ALBUM REVIEW: The Three Tremors, "“Guardians of the Void”

 By: Richard Maw
 
Album Type: Full Length
Date Released: 05/11/2021
Label: Steel Cartel Records

 

“Guardians of the Void” CD track listing:
 
1. Bone Breaker
2. Guardians of The Void
3. Kryptonian Steel
4. Crucifier
5. I Can’t Be Stopped
6. Frailty
7. Operation: Neptune Spear
8. Chained to The Oar
9. Catastrophe 
10. Wickedness and Sin
11. Fall of Rome
12. War of Nations
 

The Review:
 
The Three Tremors return with this, an adrenaline infused joy ride through the wastelands of true metal! The Three Tremors is an over-the-top concept for an over the top HEAVY METAL band. You get three vocalists; Sean Peck (Cage/Death Dealer/Denner-Sherman), Harry Conklin (Jag Panzer, Tyrant) and Tim 'Ripper' Owens (Judas Priest, Iced Earth, KK's Priest, Beyond Fear et. al.). All three vocalists sing on every track. The singers are ably assisted by the members of Cage, Peck's first band. Sean Elg (Cage/KK's Priest) turns in a crushing drum performance which belies his wiry and be-spectacled image, the mighty-thewed Dave 'Conan' Garcia and the shredding Casey 'The Sentinel' Trask rip it up on duel/dual guitars and the bass slot is filled by Rapheal 'Gamma Ray' Nogueria, who lays it down with precision and weight.
 
The first 'Tremors album was good; I enjoyed it hugely and was I lucky enough to catch the band live in Bradford, England, where they turned in a powerhouse set of METAL, including a couple of Cage and Priest classics. Here, the band have upped their game again and made a storming record. The name of the game here is, of course, HEAVY METAL. It's worthy of the capitals, because how much more METAL could this be?! The answer is... none.
 
Shredding guitars, thrashing drums, screaming vocals- it literally screams METAL at you through the speakers. We are firmly in Judas Priest/US Power Metal territory here; think the heaviness of the “Painkiller” album with thrash pacing on some tracks and you've got it. Opener “Bonebreaker” should convert you, if it doesn's, you probably just won't get this. At all.

 
The title track is a nitrous injected burst of speed and vengeance, while the rest of the album does have some surprises in store. They can do mid-paced (“Crucifier”), sinister (“Frailty”), comic book (“Kryptonian Steel) and lots more besides. “Operation: Neptune Spear” tells the story of the hunt and elimination of Bin Laden and is just about the most American and METAL track I've ever heard: furious pacing, jingoistic chest beating, unashamedly pro-gun, pro-revenge, pro-military, glorying-in-the-death-of-a-terrorist, screaming-for-vengeance METAL.
 
These songs will make you drive faster, that's for sure- whether or not that will be straight to a safe space or straight to a shooting range will be up to the listener's disposition and sensibilities! As the album continues, it's heavy hit after heavy hit; “Chained To The Oar” is the obligatory viking themed track, picking up where “The Wrath of Asgard” left off on the debut. It's a cracker. “Catastrophe”, “Wickedness and Sin” and the excellent “The Fall of Rome” continue to batter the listener into submission with body and head shot combinations. It's relentless and gloriously over the top.
 
By the time the record closes with “War of Nations”, you may feel drained by the nature of the aural assault. This, after all, is what METAL should be: it's supposed to be OTT, it's supposed to be turbo charged, it's supposed to be divisive and universal in equal measure. Overall, I'd heartily recommend this to fans of USPM, Judas Priest, Manowar, any of the associated bands of the players here. Indeed, most thrash fans would get something out of this, such is its ferocity and commitment to the riff, the solo and the scream. If you are of a sensitive disposition, prefer nuanced political and social stances and don't like METAL... this is not for you. If I could award this album a score, I would award it multiple battle-axes, thousands of rounds of ammunition and huge doses of steroids- and I would wrap those awards in a stars and stripes flag. Superlative HEAVY METAL.
 
“Guardians of the Void” is ONLY available as a physical product and is not streaming; I bought the digipack CD direct from the label, Steel Cartel. It's available on Amazon and elsewhere but it really does beg to be purchased- the artwork is great; the music is too. Support bands and music, please.
 

“Guardians of the Void” is available HERE

 

Band info: Official

ALBUM REVIEW: Blaze Bayley, "War Within Me"

By: Richard Maw & Nathan Harrison
 
Album Type: Full Length
Date Released: 09/04/2021
Label: Blaze Bayley Recordings

“War Within Me” CD//DD//LP track listing:

1. War Within Me
2. 303
3. Warrior
4. Pull Yourself Up
5. Witches Night
6. 18 Flights
7. The Dream of Alan Turing
8. The Power of Nikola Tesla
9. The Unstoppable Stephen Hawking
10. Every Storm Ends

The Review:

Blaze roars back with another solo album. The ex-Iron Maiden alumni has been building a real head of steam over the last half decade- The “Infinite Entanglement” trilogy of albums (one per year!) was uniformly excellent. A brace of live albums and an acoustic record have been put out as well- all of that within a five year period! You could never accuse Blaze of slacking. Indeed, he has earned a reputation as one of the hardest touring and hardest working singers in the business.

This is metal solo album number ten, so what has Blaze got left to say? As it turns out: plenty. This is a call to arms, a rallying cry for anyone who is down but not yet out. Track by track, it is like this - with my own views articulately and expertly augmented or argued with by none other than Nathan Harrison of The Human Condition and ace Maiden tribute act, Maiden's Shadow.

“War Within Me”:

RM: What an opener! The title track is fast and furious with a gnarly guitar tone and hooks for days. It's anthemic and comes out all guns blazing (ha!). As a first impression, this is good. It's high energy and pushes all the right motivational buttons.

NH: A Blaze mission statement if ever there was one – his lyrics have always been about self-empowerment and nowhere is this more evident than tracks like ‘War Within Me’. Furious riffing from Chris Appleton blends perfectly with Blaze’s assured and confident flitting between a punchy staccato and his usual flowing and powerful melodic approach, his voice still going strong and arguably getting better and better as each year passes.

“303”:

RM: A real stand out track for me. This is a classic tale of derring-do regarding Polish fighter pilots in WW2 who greatly assisted in the Battle of Britain. It's really catchy and exhibits, for me, the best of what Blaze can do.

NH: Blaze has arguably been at his best on recent albums when things have gone ever so slightly power metal (see the title track of “Infinite Entanglement”, ‘Blood’ from “Endure and Survive” and ‘Immortal One’ from the last album) and this track is no exception. Blaze and co can write a damn fine chorus and this one just begs for a huge crowd to sing along. The way the verses pack in their storytelling and lead straight into the choruses with Blaze barely taking a breath is absolutely electric, and Appleton’s solo is one of his finest – more Glenn Tipton than his usual KK Downing-esque frenetic style – which suits the melody-led approach of this track beautifully.

“Warrior”:

RM: After a melodic and clean intro, it's blast off time again. Again it's catchy, again it's full on metal. I think that Blaze's band deserve a special mention here. Three quarters of Absolva are once again present and correct and Messrs Appleton, McNee and Schramm play a blinder. Chris Appleton seems to have hit just the right balance between metal and melody for Blaze's material. The riffs and solos are very strong and Blaze meets their challenge with a powerful baritone performance.

NH: That voice though! The quieter moments like the one that opens this track really show off the nuances of Blaze’s vocal quality – simply goosebump inducing stuff. Introducing the full band is impactful none the less, and the moment they kick in oddly has more in the way of noticeable dynamic range than when the opener gets going – more on this in the mix section later, though.

“Pull Yourself Up”:

RM: Once again, we are in self-help territory here - or metal motivation mode if you prefer. Blaze reminds us that we must press on, we must overcome. Blaze's explanation of this track is interesting and worthy of mention here. The first verse and part of the chorus are owed to a serious motorcycle accident he was involved in just after joining Maiden- what timing! He was told that he would thereafter walk with a limp and that he would not be back to anything like normal mobility for at least a year. Naturally, he had opportunities that he had to grasp. He beat the doctor's prognosis and now exhorts the listener to stop doubting themselves and walk with him. The other lyrics deal with criticism Blaze has faced and how he simply forged ahead. I love this track. It's motivating and quite profound. I can't help but sing along.

NH: Something a little different here, and the experiment pays dividends. The guitar generally stays in the higher register, wailing and soaring throughout, while the bass and drums lock in tightly with Schramm and McNee providing a solid backing to the more wayward guitar approach. Blaze’s rich tones sit perfectly on top of the cacophony to make for a solid mid-tempo foot tapper with a sing along section that stands out as a result of the approach to the rest of the song. Definitely one for the live set.

“Witches Night”

RM: This offers up a kind of mid tempo point - faster than one of the preceding tracks but slower than the others. Nice guitar refrains throughout and a hooky chorus. It's a solid album track, but not a stand out for me.

 

NH: Another slightly odd track, which doesn’t land quite as well as ‘Pull Yourself Up’ thanks to a slightly meandering sag in the middle, but the ideas here are solid and the transition from verse to chorus is surprising every time. Said chorus offers a solid, simple riff but with more guitars working their way around it and making for a really interesting listen.

“18 Flights”

RM: Ah! My first thoughts on this one: SAXON. It is exactly the kind of track that Biff's Yorkshire heroes would and have delivered at any point in their forty year career. The main guitar lick is strong and the verses and choruses are delivered with utter conviction. It tells the story of Blaze and band being caught up in an earthquake in South America and the surrounding chaos. It also contains a stormer of a solo. It's unashamedly fun and bombastic and although it could come across as very Spinal Tap, I find it charming.

NH: Yes, this one is pure ‘And the Bands Played On’! Songs about touring experiences often don’t quite hit the mark, but as a novelty with a cheesy chorus, this is a nice pallet cleanser before the more serious fare of the last few tracks.

“The Dream of Alan Turing”

RM: This is the first of a trilogy of science themed tracks that form a kind of nucleus of the record. Each track deals with a giant of their field and each one is quite different. Turing, of course, cracked Enigma and thus turned the tide for the allies in WW2. That he was treated so disgracefully by the British establishment thereafter due to his sexuality is a sobering and souring epilogue to the life of a man who really can be described as a true hero. The song is great, the subject stellar and this is another standout, if a tad on the short side.

NH: Little pockets of concept or thematically linked songs in albums of otherwise standalone tracks always appeal – this is something that Blaze himself did so well on “Promise and Terror”, dealing with an intensely personal and heart-breaking subject. While these tracks deal with subjects and figures unrelated to Blaze’s own life, the opener of this little trilogy is certainly epic and is fitting for the impact that the three men concerned  have made on the world both during their lives and after their deaths. Alan Turing’s story is presented in a rather dark and melancholic but powerful 3 minute package.

“The Power of Nikola Tesla”

RM: Another giant of science and a champion of the greater good - and again a man who did not get his just desserts or the respect he deserved in his lifetime. It's safe to say that Tesla changed all of humanity with his work. Again, it's a rollicking track with a strong chorus that quite literally screams “POWER!”

NH: Power is certainly the word – this is the standout track of the trilogy and briefly shows off the upper end of Blaze’s range in a way that’s bound to knock heads off. The lyrics frame energy and power as something that Tesla saw in every aspect of the world, and that is translated expertly into the approach the whole band has taken here. Well, they could hardly have written a song about a man so inextricably linked to the popularisation of electricity without a little thunder and lightning, now could they?!

“The Unstoppable Stephen Hawking”

RM: The last of our scientific/intelligent holy trinity, Hawking is a man known to most as the author of the book most purchased and least finished (A Brief History of Time) that exists. Hawking's life obviously chimed with Blaze - Hawking refused to accept his MND diagnosis and confounded doctors by living on for decades longer than the three years he was given. As Blaze pronounces, Hawking was unstoppable and a giant of his time. Verse wise, the lyrics are classic Blaze, if a little clumsy in terms of phrasing. The bridge and chorus more than make up for any shortcomings, though and again this is a track that pushes forward relentlessly, inexorably, towards its conclusion. The avian imagery that Blaze conjures up (“the eye of the hawk”) is quite excellent and the song is a good example of more being more; words, length, guitars etc. It's all there and all gloriously over the top.

NH: It’s impossible not to be inspired by the late, great Professor Stephen Hawking – even without his incredible scientific achievements, the man was a one off, defying all the limitations put upon him by the terrible disease that ravaged his body. Blaze takes Hawking’s story and incredible spirit and uses it as a lesson to anybody who is ever told that they can’t do something. If there’s anything that can be learned from Hawking (other than very advanced physics!) then that is certainly the main candidate. The song uses all 6 of its minutes to great effect and this closes out the trilogy perfectly.

 “Every Storm Ends”

RM: How else to go out but with a big melodic ballad where Blaze gets to sit in his most powerful register and deliver an emotional performance and summing up of all the themes contained within the album. It's melancholy and hopeful at the same time. It's a great closing track and can only fit at the end of the album.

NH: A closer that gets to the emotional heart of the album as a whole and, as stated in a previous piece on Blaze’s work, during these trying times we all live in currently it’s hard not to get swept up by someone suggesting that things might just turn out alright in the end! This one really shows off the versatility of Blaze’s voice, as he goes from belting lines right at the top of his range to low, sonorous and expressive lows. An impressive way to round things off.

Mix and Production:

RM: My only criticism of the album would be the mix. The drums are a little low, the bass a little indistinct and the guitars a little loud - to my ears at least. Blaze and band worked within the limitations they had during, as the BBC keep telling us, an unprecedented situation. The album was recorded using modern technology and digital files being sent from each musician to the other. Blaze and Appleton worked directly together in Birmingham for much of the album's genesis, with Martin McNee and Karl Schramm recording as and when they could. Consequently, the drums have a less than organic sound, but are of course well played and feature all of McNee's trademark rhythms and phrasing. I found that the louder you turn the album up, the better it sounds - which for a metal record is... as it should be! The performances are uniformly great and Blaze in particular really shines.

NH: It feels like a bit of a cheap shot to have a go at the production given the circumstances already outlined and the challenges thrown up by the pandemic, but it is necessary to point out that the production does falter at times here. As previously mentioned, the dynamic range is inconsistent – the title track has practically none when a single guitar becomes a British metal band going at full pelt, but ‘Warrior’ manages to sound impactful in a similar situation. The drums are far too quiet and the guitars far too high in the mix and this makes for an uncomfortable listening experience through headphones, at times borderline painful when cranked up, even through near top-of-the-range B&O cans. However, when heard through a decent speaker, these issues are less evident and perhaps a finished CD or vinyl copy when the album is released may prove a better listening experience.

Summing up:

RM: This is another very strong entry into Blaze's discography. It's more straightforward than any of the “Infinite Entanglement” Trilogy and is relentlessly 'up' in a similar way that “Somewhere in Time” is; it's enthusiastic and energised throughout. There are no bad tracks and most are at the least very good. I hope it wins over new fans as it deserves to.

NH: Blaze has very rarely put a foot wrong in his solo career (the slightly odd “King of Metal” proving the only real dud in his catalogue) and, production aside, he maintains his confident winning streak with “War Within Me”. He could hardly be blamed for wanting to take a bit of a break or perhaps even for running out of ideas after releasing 3 interlinked concept albums over 3 years with tours between each (and not forgetting also that the band still regularly release their own material without Blaze as Absolva). However, it seems that stopping is simply not Blaze’s style and it continues to work in his favour, with this latest release the fourth blinder in a row. Roll on number five!

“War Within Me” is available HERE

Band info: facebook

ALBUM REVIEW: Ashes of Ares, “Well of Souls”

By: Richard Maw & Nathan Harrison

Album Type: Full Length

Date Released: 09/11/2018

Label: Rock of Angels Records

“Well of Souls” CD//DD track listing:

1. Consuming The Mana
2. The Alien
3. Unworthy
4. Soul Searcher
5. Sun Dragon
6. Transcending
7. Let All Despair
8. In The Darkness
9. Spirit Of Man
10. Time Traveler
11. The God Of War
Bonus Track:
12. You Know My Name

The Review:

Ashes of Ares, for those unaware, is the band formed by Iced Earth alumni Matt Barlow and Freddie Vidales. As such, you could have a fair idea of what to expect; power metal with prog/thrash/trad influences and no small amount of bombast and vocal histrionics. That's not to be flippant either: Matt Barlow may just be the best heavy metal vocalist alive. His range, emotive power and delivery are just awe inspiring. The band's 2013 debut saw the band as a confirmed trio with Van Williams (Nevermore) on drums. Van returns here but as a guest rather than a full time member. His performance is fantastic and he showcases a lot of his trademark off kilter rhythms and polyrhythms as well as a killer sound.

The sound and production is perhaps more epic than the first record- definite prog influences and elements abound. There is straightforward metal, lots of soloing and all around impressive musicianship. There are eleven tracks that make up the main album and a rather unexpected and touching tribute to Chris Cornell in the closing cover of "You Know My Name”.

The first album dealt with themes of justice, punishment, faith and death- due in no small part to Barlow's main career in law enforcement. In many ways, it's good to know that many musicians these days also do real work for a living, just like the rest of us- some, like Barlow, in more demanding jobs than most. It's a credit to him that he has kept making music. It can't be easy.

We thought it appropriate for an album of this depth and complexity to bring some discussion into the mix. Nathan Harrison, vocalist for The Human Condition and MAJOR Barlow fanatic seemed the logical choice. What follows is our take on each track, the state of metal and anything else which seemed to be relevant:

“Consuming the Mana”

RM: The intro made for an interesting start; dramatic, perhaps even overblown with its synthesised orchestration. I can see it being used as an intro tape (or digital equivalent) for the live gigs that I REALLY hope the band play. As soon as the main track kicks in, though... wow. What a sound. Fantastic production and playing. Barlow's vocals are as soaring as ever and he seems to utilise the layering recording technique that he used on some of Iced Earth albums to great effect. I like the drums of Williams as he sounds like no one else- a really technical and individual player.

NH: Overblown certainly isn’t a bad thing and this intro from Jonah Weingarten (who recently made a rather excellent album of cinematic music with Barlow on vocals under the name We Are Sentinels) certainly sets the epic tone for the album.  Every time I press play on something new featuring Matt Barlow, I expect to hear a change to his voice that can only be expected from a singer nearing fifty years old but no – as usual he is powerful and commanding, lungs surely bursting with the emotion, range and iconic power that hasn’t changed one iota since his first release with Iced Earth over 20 years ago.

This track knocks it out of the park in every sense – the layered vocals wind around polyrhythmic drums and a good mix of solid riffing and proggy shredding. It certainly gets the record off to a flying start!

“The Alien”

RM: This is a much more straightforward proposition. No intro, just straight in there with a melodic metal master class. I am going to guess from the drum sound that replacements/electronic kit was used. The drums sound incredible and you can hear the echo of the toms and so on. I have no issue with this for this kind of music; you NEED to hear everything and fortunately the drummer is unique, so this does not become a sterile exercise in perfection. I like this track a lot- it is heavy metal in a very advanced form.

NH: This song veers between the epic and the brutal. Barlow’s highs soar in the background under his earth-rumbling lows, framed by monstrous riffing before heading into a double-kick stampede which can’t help but induce some serious fist-pumping. While it’s not a theme that I can directly identify with, Barlow is undeniably frank and sincere in the way he sings about (what I interpret as) his religious beliefs here.

“The Unworthy”

RM: Now this is a track that sounds like it could have jumped straight off the band's debut! It's dark and heavy and one of the best tracks on the album. Powerful stuff and the use of Barlow's lower register is excellent.

NH: I agree – this definitely has elements of ‘What I Am’ or ‘This Is My Hell’ from album one. It offers more of a focus on Barlow’s vocals than any other track on the album, his lower range sounding like its being pushed through a throat full of razor blades whilst still sounding massive and imposing. My only complaint is that the arrangement of this track (the guitar has a few moments where it is very much at the forefront) does show that the guitar sound isn’t quite as rounded as the first album. It sounds a little too trebly to me, whereas the previous releases’ sound had that attack that cut across whilst still maintaining a bit of weight at the bottom end. An otherwise great track.

“Soul Searcher”

RM: So, here we have the first ballad of the album. Musically, this is close to Iced Earth- and may be an acquired taste for some. For some UK listeners this may seem a little overwrought and a little too earnest; but it is not too far away from Alter Bridge who are huge over here. For me, one of the cool things about the debut was that the band didn't just deliver ten identikit tracks and they instead covered a fair bit of ground. For me, this is a different side to the band and one that gives the album more dynamic range. Ballads are not to everyone's taste- I know that- but “Soul Searcher” is a well written song and its presence reminds me that those involved in this record are elder statesmen of the metal world; ballads were very much de rigeur on every album I bought when I first got into metal, so this is a nice continuation of that tradition.

NH: Barlow’s emotional range is really on show here – he turns on a dime from hurt and vulnerable to raging and livid. The lyrical content is direct – there’s very little in the way of imagery and metaphor here. This is a simple song about being betrayed by a loved one and it works beautifully. While it is a ballad, it certainly isn’t short on impact. And anyone who, as you say, Richard, is into their more ‘classic’ metal albums won’t feel that this is out of place – what would “Empire” be without ‘Silent Lucidity’? What would “Sad Wings of Destiny” be without ‘Dreamer Deceiver’? This song provides the dynamic range required for an album of this scope and scale.

“Sun Dragon”

RM: Well, if you don't like ballads, don't worry! This one is pure molten metal fury. Sitting somewhere on the Priest-in-their-“Painkiller”-period trajectory, this is as heavy as lead and just as deadly. It's fast and furious and rocks like a bastard. Yes!

NH: Yup, this one is certainly a contrast. Those high notes at the beginning! Fans of a good old fashioned Halford style heavy metal scream will NOT be disappointed by the first few seconds of this one. It certainly is heavy but manages to pack an epic melody into its chorus. A balance like that is difficult to achieve – now they’re just showing off!

“Transcending”

RM: This is equally heavy but with some more dynamics thrown in. Five minutes of metal goodness with some excellent soloing. This is superlative heavy/power metal. Exactly the kind of sound I was looking for from the band.

NH: Again, a slightly doomy sensibility here, but overlayed with furious tub thumping from Van Williams which is then overlayed by equally frenetic picking from Freddie Vidales. Solid as a rock throughout.

“Let All Despair”

RM: Here we have some prime storytelling from Barlow et al. Similar to their Alma mater, this marks the start of a trilogy of songs which link together and form a story arc based around the album's title. Now, as such I wasn't expecting three thrashing metal tracks- I expected a more measured approach that allowed for ebb and flow and changes in emotion. “Let All Despair” delivers exactly that. We are now entering an arena of more involved listening and “concept.” To get the most out of it it needs to be absorbed and listened to... carefully.

NH: This might just be my favourite track on the album – the atmosphere it builds over the course of its five minute running time is just stunning. A similar refrain repeats throughout, but each time there is more there until it reaches a beautiful crescendo before slowly fading away, those layered vocals showing just how effective they can be when paired with the cracking musicianship of the rest of the band. It certainly works as the first part of the trilogy it forms with the following two tracks.

“In The Darkness”

RM: This one sounds how I expected from the title; dark and foreboding. Again, musically it would fit right into the debut but as the central track in a linked trilogy it has to fit with this musical suite. I think it does- it progresses the story of the “Well of Souls” and features really good performances from Barlow and Vidales. I got the impression that they put a lot into these three tracks to make them hang together and progress almost as if the three tracks were one piece.

NH: This track has a fantastic, unrelenting, stomping rhythm to it which mixes perfectly with the lyrical theme of impending and inexorable death and destruction. However, both the vocals and the guitar are given space to be heard and appreciated over this – the drums form the ideal backing for the listener to understand what the song is trying to say. Top notch.

“Spirit of Man”

RM: This one concludes the “Well of Souls” Trilogy and starts off dark- for me, the dark sound of AOA is one of their major plus points. They don't sound like anyone else. Once again- much like Iced Earth- there is no mistaking that this band comes from anywhere other than the US of A. The delivery is serious and no tongues are in cheeks here. UK listeners, used to a more nuanced approach, may find the lack of irony disturbing... but this is metal. Proper metal. It's supposed to be serious and seriously bombastic. As a concluding track for the trilogy this works very well as it finishes the story. However, the pick of the three linked tracks would be “In The Darkness” for me.

NH: Taken together, these three tracks are certainly the stand out part of the album – perhaps a sign that a concept album may be the next logical step for Ashes of Ares? They certainly have the epic sound for it and Barlow has enough storytelling experience from his time with Iced Earth, whose albums almost always have at least an overarching theme if not a full blown concept. Every bit of light and shade that could be expected from a concept album can be found across roughly 15 minutes of music and it is done masterfully. ‘Spirit of Man’ makes for a perfect dénouement, veering from frenetic, almost scatter-gun vocals to a huge chorus leading into a sonically packed conclusion which ends in a suitably abrupt fashion.

“Time Traveller”

RM: This one is pure sci-fi set to power metal. This one could be an example of how to get the genre just right. It's heavy, speedy in places, the vocals soar and offers up a dead-straight hammer blow after the more complex trilogy it follows. Sci-fi and metal go together really well (just ask Blaze Bayley) and this is a great example of how evocative the imagery can be.

NH: That chorus though! Simple but effective would be the best way to sum up both the chorus and the song as a whole. And, yes, sci-fi/fantasy themes will always work with heavy metal – I’ll say it again: concept album please, Matt!

“The God of War”

RM: Barlow and Vidales get things just right here. This is dark, menacing and the perfect closing statement. Again, there are echoes of the debut here and this is masterful metal. The genre does not get much better. Riffs, time changes, multi tracked vocals and a theme that is as universal as it is terrifying. What a track!

NH: Vidales gets his doom on again for the fuzzy intro riff – Barlow’s soft vocals that open up this otherwise pummelling track contrast very nicely. This one is a slow builder – the first minute and fourty-five seconds act as a perfectly menacing prelude to the sonically rich main feature. This is an absolute stand out on an album of wall-to-wall quality.

“You Know My Name”

RM: I liked Chris Cornell (and Soundgarden) and I like Bond films... is this track needed on an Ashes of Ares album? Of course not. Is it a nice tribute? Yes. It is a bonus track; a cover done well, earnestly and is exactly what I expected. It's not out of place exactly, but it never could have been included in the main track list.

NH: When taken as a bonus track, separate from the main thrust of the album this is a good bit of fun – the band rework it enough to make it their own whilst sticking to the original enough for it to be recognisable and maintain the spirit of Chris Cornell. Despite all the praise heaped on Casino Royale as a film, its theme tune is not often mentioned when discussions of Bond music arise. For me this is the joint best Bond theme (alongside A-ha’s ‘The Living Daylights’ – shhhh, it’s our little secret) so it’s good to see such great musicians giving it some attention. Also, it’s refreshing to hear a Cornell tribute that isn’t a tear-inducing version of ‘Black Hole Sun’ – this celebrates his life and work in a more fun way. A good choice all round.

...And there you have it. This record is sure to be one of the best metal releases of this year. Ashes of Ares have kept to the lofty standards of their first record and delivered another tour de force.  I've run out of superlatives to describe the musicianship on display here. We can only hope for live shows and await with interest who will fill out the live line up. This album is for all fans of true heavy metal. Outstanding.

“Well of Souls” is available for preorder HERE

Band info: facebook