I hailed 2022's The Myth Of The Mostrophus by Ryo Okumoto as the most Spock's Beard sounding album in a very long time, but a conceptual, cinematic version of the veteran prog band, focussed through the wild and creative mind of the kinetic keyboardist and writer. I remember listening to it on a plane and wanting it to land so I could write up the review and tell everyone about it.
Apparently Spock's Beard feel the same as their latest album The Archaeoptimist has been masterminded by Ryo Okumoto, formed of his creative vision and co-writen alongside long time collaborator Michael Whiteman, plus Alan Morse (guitar) & Ted Leonard (vocals/guitar), this is Spock's Beard 30+ years into their existence, filled with prog rock grandiosity and pomp but delivered with that undeniable love of life Ryo brings to the band.
He also produces the record with Rich Mouser mixing and mastering to make it this six track monster sound huge. From the Yes meets ELP style of Invisible, where there's lashings of keyboards and those classic Spock's Beard harmonies, through the crossover prog of the jazzy Afourthoughts where all the members get a chance to show off their skills especially Alan Morse and his smoking hot guitar playing.
I've spoken about Morse and Okumoto's playing at length a few times before but they always amaze, but bassist Dave Meros and new drummer Nick Potters bring the undulating, never simple rhythms of this band and this album to life be it on the shorter offerings or one of the gargantuan ones like the title track.
I've also talked about Ted Leonard possibly being the best singer SB have had, and he proves that on a track such as the St. Jerome In The Wilderness, where the emotion is strong beneath the prog posturing.
Apparently Spock's Beard feel the same as their latest album The Archaeoptimist has been masterminded by Ryo Okumoto, formed of his creative vision and co-writen alongside long time collaborator Michael Whiteman, plus Alan Morse (guitar) & Ted Leonard (vocals/guitar), this is Spock's Beard 30+ years into their existence, filled with prog rock grandiosity and pomp but delivered with that undeniable love of life Ryo brings to the band.
He also produces the record with Rich Mouser mixing and mastering to make it this six track monster sound huge. From the Yes meets ELP style of Invisible, where there's lashings of keyboards and those classic Spock's Beard harmonies, through the crossover prog of the jazzy Afourthoughts where all the members get a chance to show off their skills especially Alan Morse and his smoking hot guitar playing.
I've spoken about Morse and Okumoto's playing at length a few times before but they always amaze, but bassist Dave Meros and new drummer Nick Potters bring the undulating, never simple rhythms of this band and this album to life be it on the shorter offerings or one of the gargantuan ones like the title track.
I've also talked about Ted Leonard possibly being the best singer SB have had, and he proves that on a track such as the St. Jerome In The Wilderness, where the emotion is strong beneath the prog posturing.
The Archaeoptimist is Spock's Beard first album since 2018's The Noise Floor, many touted that as their last studio album. However Spock's Beard are clearly not content with becoming a nostalgia act and they have leaned on the creative drive of their keyboardist to continue the recording legacy of this veteran band. 9/10
Back in 2021 I praised Midwest riffers Wolftooth highly, putting together NWOBHM and stoner metal this is proto-metal with a snarl. Blood And Iron their last release had them signed to Napalm Records but for their fourth album Wizard's Light they have gone back to Ripple Music, the spiritual home of riffs and they've sharpened their steel for some more fantasy themed heavy metal.
Wolftooth take the Iron Maiden route of a triple guitar attack, Jeff Cole, Jerrmey Lovins and Chris Sullivan all bringing the riffs, from the Intro right the way to Allfather, the three guitars are all used well, intermingling between each other, joining Terry McDaniel's bass in the thunderous rhythms and weaving in and out of each other in the melodic/lead parts such as the Maiden-like Darkened Path where the the solo sections have those lush harmonies.
Sightless Archer kicks off with riffs The Sword would be proud of. Sullivan is also the singer, his vocals are Ozzy meeting John D. Cronise of the Texas band. Shane School's drumming drives the speed on the killer title track, the Sabbath worship is particularly strong here. Wolftooth seemed revved up on Wizard's Light, like they have something to prove with this fourth record.
Maybe it's the move back to Ripple, but Wizard's Light brings an epic feel to the this already heavy style, at it's strongest on Armor Of Steel which has the fist pounding march of Grand Magus. With their steel glistening in the late winter sun, Wolftooth gear up for another raid of your riff stores on album four, raise those fists and bang those heads to some heavy metal glory. 9/10
Kill Ritual - In My Head (Massacre Records)
If I was to play you one song and ask you where Kill Ritual were from, you would probably instantly answer with USA. They play the darker, heavier, more evil style of US power/heavy metal favoured by Iced Earth, Sanctuary, Metal Church, Vicious Rumours or anything involving Tim Ripper Owens.
Kill Ritual is the creation of Steven D. Rice, he is responsible guitars, bass, synths, additional vocals along with lyrics, arrangements, recording and production, only the mix and master are outsourced to King Diamond man Andy LaRoche who Kill Ritual also share some similarities with.
This is classic heavy metal on steroids with influences from thrash and prog metal, delivered with downtuned riffs, furious doubles kick drums from Seamus Gleason and a histrionic vocal delivery from Judas who can scream, soar, snarl and growl through this records aggressive atmosphere and dark lyrical content.
There are moments when the melodic side creeps out (My Love Is Hate), but Kill Ritual keep most of the record on the heavy side, telling a thematic story where all the songs are part of the journey, the virtuosity of Rice very much the cornerstone and driving force of this band and he gets to show off throughout.
Album number seven from Kill Ritual and even with a number of line up changes over the years, Steven D. Rice is keeping this heavy metal engine running. 8/10
Frozen Land - Icemelter (Massacre Records)
Finnish power metal now with the return of Frozen Land and their third album Icemelter. With two albums under their belt, Frozen Land have increased the aggression on album three.
Still retaining the cinematic melodies of Stratovarius and Sonata Arctica, and their established neo-classical virtuosity, with Icemelter they have written a record that sees this Helsinki five piece, sharpening their riffs towards the US or German style of power metal where it so often meets with thrash.
The Carrier immediately showcases this shift in sound with a bit of speed metal Blind Guardian, they take it back to classic heavy metal chugs. Lyrically driven by the corruption and fear in the world, this is a more muscular sound from Frozen Land, embracing the modern style of Stratovarius with a track such as Dead End and of Sonata on Chosen, Corrupt And Cancerous.
Although unlike the genre legends, these particular Finns don't take the long route, ensuring that most of these tracks hit quickly with rampaging drums, light speed guitars/keys and high piercing vocals used to make their mark. All of what makes power metal and Frozen Land great is still present in their style. Just on Icemelter, it's a bit meaner and leaner. 8/10
The Carrier immediately showcases this shift in sound with a bit of speed metal Blind Guardian, they take it back to classic heavy metal chugs. Lyrically driven by the corruption and fear in the world, this is a more muscular sound from Frozen Land, embracing the modern style of Stratovarius with a track such as Dead End and of Sonata on Chosen, Corrupt And Cancerous.
Although unlike the genre legends, these particular Finns don't take the long route, ensuring that most of these tracks hit quickly with rampaging drums, light speed guitars/keys and high piercing vocals used to make their mark. All of what makes power metal and Frozen Land great is still present in their style. Just on Icemelter, it's a bit meaner and leaner. 8/10
No comments:
Post a Comment