AWAKEN THE GUARDIAN

The Connecticut-born band's third album release is definitely its coming out / arrival piece--announcing a new type of metal music, one that combines the virtuosity of bands like Metallica with the story-telling of bands like Genesis and Blue Öyster Cult; even more than the entry and arrival of Seattle's Queensrÿche, I think it's this album and this band that announces the arrival of Progressive Metal music! It's official! It's a thing!

1. "The Sorceress" (5:43) definitely using the Ozzy voice effects. I do like the interwoven two-voice parts in the middle-- which are followed by a cool style and pace change--as if the car suddenly pulled off road and had to switch into 4- wheel drive. Nice lead guitar work in the instrumental passage. I have to say, after just listening to Queensrÿche's Rage for Order, that these guys are on a level of instrumental proficiency one or two notches above that of the 'rÿche: more metal and less hairband. (9/10)

2. "Valley Of The Dolls" (5:22) the musical shift sounds subtle and only nominal from the previous song despite the more tech metal guitar play, but the lead vocal performance from John Arch sounds as if one continuous performance. (It's already getting a little old/boring for me.) In fact, I must say that John's vocal range is so high that I find it even harder than usual to tune in and extract words and meaning from his singing. And, yes: these guitarists are much more impressive with both their lead and rhythm play--much more like the accomplished axemen of the future death metal and extreme/tech metal bands to come in the 1990s. (8.667/10)

3. "Fata Morgana" (5:25) more good metal over which Geoff Tate shrieks about the well known evil witch of Arthurian legend. It's good music--and actually quite an impressive vocal performance--it's just not a song or topic I have any interest in or affinity for. (8.667/10)

4. "Guardian" (7:33) gently picked acoustic guitars open this one, woven together quite beautifully. Then the metal team checks in for a bombastic bit before standing down for the slowed-down acoustic guitars to re-establish their domain. Re-enter the electric power chords, only in a well-balanced position of respect and teamwork while Geoff sings over the top. But then it's time for the chorus and here the power instruments dominate. (It's not a very strong chorus.) Aside from the intro, this is a fairly standard construct. The instrumental section in the sixth minute is rather brief as Geoff apparently has a lot to say. Not as good as I was hoping (or as the intro seemed to promise). (13/15)

5. "Prelude To Ruin" (7:23) taking a minute to run through three or four musical motifs, this one eventually establishes a fairly straightforward power metal djenty riff over which Geoff vocalises some "ahhs" before backing off. When he returns the drums are doing some interesting things beneath the djent. Unfortunately, Geoff's quite monotonous voice is by now nearly opaque to my ears and brain. Too bad! He might actually have something interesting to say (though, with this song title--massed together with all of the other song titles--I sincerely doubt it.) The song meanders this way and that over the course of its seven plus minute, but never really finds a home with me. (13/15)

6. "Giant's Lore (Heart of Winter)" (6:00) more interesting music with yet another monotonous vocal. I seriously don't think I can take much more. No shade cast upon Geoff (though with these song subjects shade might be quite appropriate)--he is obviously quite a talented singer--and, as far as I can tell, quite accurate with his pitch and diction--I just have little tolerance for the pitch range of his voice. (Maybe that's why I have trouble with Geddy Lee and Pavlov's Dog. But then, why not Jon Anderson or Ozzy Osborne?) No matter how interesting this music might be (and, to be honest, it's not really: just performed with admirable skill and dexterity), it'll never connect with me so long as that shrillness is accosting my senses. (8.667/10)

7. "Time Long Past" (1:50) actually nice--and not so metal-show-off-y. (4.25/5)

8. "Exodus" (8:31) a fairly laid back presentation of a straightforward metal chord progression over which Geoff sings (with a little more pitch variation than most of the other songs). At 3:30 the train stops and a slow guitar arpeggio establishes a new motif within which heavy drums plod and lead guitar soars above. Geoff's vocal over this section is much more palatable--perhaps slow blues music is where his gifts are best put on display. At the five-minute mark the band launches on a full-speed chase into the woods--the hunt is on! But then at 5:45 we take a trepidatious turn down a more treacherous lane (and Geoff keeps singing). This might be a prog metal masterpiece. (I wouldn't know: it just feels like it.) Definitely a top three for me. (18/20)

Total Time: 47:47

Obviously this band has fallen into the pit--under the spell of SABBATH's public image--having to write songs about the occult, the dark side, the dangerous not-so-Christian side of archetypical lore.

B/four stars; an excellent addition to any prog metal lover's music collection--and a definite announcement to the world that there's a new kind of prog coming down the pipe.