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: 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