...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI.



..::OPIS::..

Power metal ma ostatnio trochę pod górkę. W dobie boomu na shoegaze’owe blacki i occult / stoner dooma, dzielnym łowcom smoków niełatwo przekonać do siebie słuchaczy ciężkiej muzyki. Tym niemniej, od czasu do czasu wciąż można trafić na jakąś sensowną propozycję, która znajduje wąską ścieżkę pomiędzy stricte nostalgiczną wycieczką, na siłę opierającą się duchowi czasu, a skrajną autoparodią, mającą uzasadnić jej egzystencję w oczach wyluzowanej młodzieży, na co dzień bawiącej w innych muzycznych rejonach.

Unleash the Archers bliżej do pierwszej z wymienionych tendencji. Już po kilku chwilach obcowania z Apex nie da się tej kanadyjskiej ekipie odmówić wierności XX-wiecznym ideałom, nawet jeśli w ich brzmieniu łatwo wyczuć nowoczesny temperament. Zawarta na płytce muza kojarzy się z klasycznym podniosłym i radośnie chwytliwym euro-powerem w stylu, powiedzmy, Hammerfall. Została jednak dopakowana sporą ilością mięcha, którego nie powstydziłyby się któryś z bardziej melodyjnych nowoczesnych melodeathów, na przykład Mors Principium Est. Słychać to już w riffowaniu otwierającym The Awakening i w muskularnej pracy garów, które tylko od czasu do czasu wpadają w tradycyjny galop. Dodatkowych cojones przydaje piosenkom śpiew Brittney Slayes (owszem, za mikrofonem stoi dziewczyna), mocny i pewny siebie, a zarazem poustawiany w naprawdę chwytliwe melodie. Po kilku przesłuchaniach refreny Ten thousand against one, The Cowards Way czy Cleanse the Bloodlines po prostu muszą zacząć telepać się po głowie. No i nie ma tu mowy o przesadnym lukrze, z jakim mamy do czynienia choćby na krążkach Twilight Force; zamiast tego dostajemy rozsiane tu i ówdzie krótkie partie growlingu.

Piosenki na Apex niezmordowanie zasuwają naprzód, zdarzają się jednak mile widziane zmiany tempa, przy okazji False Walls i wspomnianego, hymnowego Ten thousand against one. Materiał ujęty jest w ramy lirycznej koncepcji i opowiada legendę o starożytnym strażniku, który, związany klątwą, służy niedobrym ludziom robiąc na ich zlecenie niedobre rzeczy. O czymś w końcu trzeba śpiewać, a tak przynajmniej jest to w miarę interesujące – na pewno bardziej niż teksty o graniu metalu, jakie wciąż lubią prezentować pewne niemieckie dinozaury.

W końcowych minutach Apex niestety zaczyna się trochę ciągnąć – Earth and Ashes i Call Me Immortal nie są tu moim zdaniem niezbędne i można sobie je było spokojnie odpuścić. Album i tak trwa godzinę, więc wcale niemało. Przy wysokiej jakości zdecydowanej większości materiału nie jest to jednak męcząca wada, bo oba te utwory daje się wciągnąć niejako z rozpędu, by za chwilę cieszyć się zamykającym stawkę, ultra nośnym numerem tytułowym.

Najnowsze dzieło Unleash the Archers to kawał solidnego, barwnego grania, którego można z przyjemnością posłuchać dla odmiany od obecnego niemainstreamowego mainstreamu. Jeśli nie łupie was w zęby power metal jako taki, to Apex zapewnia porządną porcję oldschoolowej energii, której w takiej formie od lat 90. wcale aż tak dużo na muzycznym rynku nie ma.

Irkalla



The road that is Unleash The Archers' career has had many twists and turns.
Starting as a melodic death metal band, they took a sharp left turn with 2015's Time stands still. The album was essentially an interesting but at times uneasy stand-off between power metal, their death metal past, and something resembling a modern Manowar (I'm looking at you, Test your metal).

And then the road went straight up.

All of a sudden everything just clicked into place.

Right from the start, it is obvious that Apex is something special.
It opens with Awakening, a song that blows your hair back and sets the bar impossibly high.It is also a blueprint of a new, consolidated sound - the sound of a band on fire. For those who haven't heard the band before, the one element that really hits you is Brittany Slayes' turbo-charged voice. She soars over the music with such power and passion that you feel like you've been knocked over by a freight train - and loved it.

As the album progresses the influence of Iron Maiden becomes apparent, with harmonizing guitars, catchy melodic choruses and tasteful soloing, evident in tracks such as Shadow Guide and The Matriach. Many of the songs fly along at a quick pace, occasionally doubling up into a helloween-like sprint, but not so frequently that it becomes predictable.

One exception to this is Cleanse the Bloodlines; a brilliant, slow burning piece that pulls you deep into the story of The Immortal and The Matriach. As a concept album, there is plenty of time to flesh out the characters of this fantasy world, and this track does just that.

The production of the album is clear and polished, and it has enough overdubs to give a full, layered sound without making it too busy. The only possible weak point is that the bass is fairly low in the mix. Steve Harris would never let that happen.

Scott Buchanon's drumming is an important factor that pulls the tracks together. He manages that tightrope of producing skill and speed, without becoming overly technical and losing the feel of the song. Interestingly, while there is plenty of double kick to be heard, this is the first UTA album not to feature any blast beats. This omission may be part of the band's vision for a more mature sound, or maybe it just wasn't warranted. In any case there are still enough growled vocals here and there to keep the old fans happy.

On most albums, the best tracks are lined up on or near the start of the album, to lure the listener in. But that's not the case on Apex. If anything, the album gets even better in the second half. False Walls is as much rock as it is metal, with it's moderate pace and hooky chorus, and the slight variation in style gives Brittany a chance to show another side to her voice.

The only problem with having such a powerhouse vocalist is that the other band members can - through no fault of their own - fall under some listeners radars. This is unfortunate, especially in the case of guitarists Grant Truesdell and Andrew Kingsley. Both are talented soloists, but more importantly, talented songwriters. Take for example, Ten Thousand Against One.
This gem of a song easily changes gears from a stomping, fist in the air battle-march chorus to a twelve-eight classic metal verse and back again without ever sounding forced.

At some point you realise, listening to Apex, that there hasn't been any filler yet, and you start to wonder when they are going to drop the ball.

But they don't. Not even once.

And as if they know what you are thinking, the Archers laugh scornfully and unleash the best for last.

Call Me Immortal is a glorious foot-to-the-floor gallop that will have you screaming the chorus out your car window for days, and the epic title track is a finale for the ages. Hard as it is to pick a highlight in an album full of highlights, this song is probably it.

Not since the heady days of Number of the Beast and Piece of Mind have I heard such an utter masterpiece. It encapsulates all the freedom and exhilaration that makes heavy metal so brilliant, and so unique from all other forms of music.

The Pariah


I’ve gotten a lot of shit from the AMG staff ever since I reviewed Unleash the Archers’ 2015 release, Time Stands Still1. Though I had plenty of complaints about that record, I couldn’t put it down. And they all knew it. After the album released, I listened to it for the rest of the year… and the rest of 2016… and even to this day. I will be the first to admit I find the band’s songwriting a tad absurd and packed to the brim with nacho cheese. But, that never kept me from enjoying their music. And now the time has come for me to endure more punishment at the hands of the crew. But, this time, the staff will have to accept that I’m right. These Archers aren’t only back, they’re back with their best effort to date. No Mad Max videos, no silly lyrics, no subpar concepts, no compression, no shit. You, my friend, have reached the Apex.

Opener “Awakening” builds around acrobatic, Dragonforce-like guitar work, a sleek power-metal groove, and a gigantic chorus that hints at dark times ahead. But, this is one of many chapters to come. Immortal awakens from his 1000 year sleep, beckoned by a voice and a dreadful task. Promised freedom from his captivity and from his immortality, Immortal must set out to capture the sons of the Matriarch; a controlling entity that strikes fear in all living things. Once returned, the Matriarch will take the lives of her spawn, retaining her own in the process. Once attained, Immortal will be set free; never to endure pain again. Or will he? Settle in, kiddos, and let the “Shadow Guide” direct you to the nightmare that awaits.

After the simple, yet hooking, “Shadow Guide,” we slam headfirst into the grooviest number on the album. But, unlike past Archers tracks, this one does not support its cheery riffage with silly vocals and an over-the-top video. Instead, this one introduces us to the conniving bitch that is “The Matriarch.” Considering the song’s violent content, the pace is one that will throw many fans for a loop. When Immortal finally arrives at her feet, the Matriarch’s blood-thirsty story becomes clear via “Cleanse the Bloodlines.” A quest that must be accepted, a success that must be obtained.

Not only is “Cleanse the Bloodlines” a big part of the story, but it’s the biggest song on the album. Maybe the biggest song the band has ever written. Opening with an epicness fulfilled by sweeping guitar leads and pounding drums, Slayes arrives, dragging the tension to its peak. Once there, the song explodes into a chorus of emotion and despair. The backing growls portray the Matriarch’s ruthlessness, while thundering riffage and kit-work become coated with a big chorus of oooo’s and aaaaah’s. Using a similar choral technique, “The Coward’s Way” sees Immortal hunt down the tyrannous first son before he takes down the “False Walls” that protect the second. Walls he smashes with beautiful vocals, beefy chugs, rich drumming, and ballad-like emotion. It’s these latter-est elements that make this ditty one of the most powerful on the disc.

I’ve gotten a lot of shit from the AMG staff ever since I reviewed Unleash the Archers’ 2015 release, Time Stands Still1. Though I had plenty of complaints about that record, I couldn’t put it down. And they all knew it. After the album released, I listened to it for the rest of the year… and the rest of 2016… and even to this day. I will be the first to admit I find the band’s songwriting a tad absurd and packed to the brim with nacho cheese. But, that never kept me from enjoying their music. And now the time has come for me to endure more punishment at the hands of the crew. But, this time, the staff will have to accept that I’m right. These Archers aren’t only back, they’re back with their best effort to date. No Mad Max videos, no silly lyrics, no subpar concepts, no compression, no shit. You, my friend, have reached the Apex.

Opener “Awakening” builds around acrobatic, Dragonforce-like guitar work, a sleek power-metal groove, and a gigantic chorus that hints at dark times ahead. But, this is one of many chapters to come. Immortal awakens from his 1000 year sleep, beckoned by a voice and a dreadful task. Promised freedom from his captivity and from his immortality, Immortal must set out to capture the sons of the Matriarch; a controlling entity that strikes fear in all living things. Once returned, the Matriarch will take the lives of her spawn, retaining her own in the process. Once attained, Immortal will be set free; never to endure pain again. Or will he? Settle in, kiddos, and let the “Shadow Guide” direct you to the nightmare that awaits.

After the simple, yet hooking, “Shadow Guide,” we slam headfirst into the grooviest number on the album. But, unlike past Archers tracks, this one does not support its cheery riffage with silly vocals and an over-the-top video. Instead, this one introduces us to the conniving bitch that is “The Matriarch.” Considering the song’s violent content, the pace is one that will throw many fans for a loop. When Immortal finally arrives at her feet, the Matriarch’s blood-thirsty story becomes clear via “Cleanse the Bloodlines.” A quest that must be accepted, a success that must be obtained.

Not only is “Cleanse the Bloodlines” a big part of the story, but it’s the biggest song on the album. Maybe the biggest song the band has ever written. Opening with an epicness fulfilled by sweeping guitar leads and pounding drums, Slayes arrives, dragging the tension to its peak. Once there, the song explodes into a chorus of emotion and despair. The backing growls portray the Matriarch’s ruthlessness, while thundering riffage and kit-work become coated with a big chorus of oooo’s and aaaaah’s. Using a similar choral technique, “The Coward’s Way” sees Immortal hunt down the tyrannous first son before he takes down the “False Walls” that protect the second. Walls he smashes with beautiful vocals, beefy chugs, rich drumming, and ballad-like emotion. It’s these latter-est elements that make this ditty one of the most powerful on the disc.

DR. A.N. GRIER



..::TRACK-LIST::..

1. Awakening 07:17
2. Shadow Guide 03:56
3. The Matriarch 04:02
4. Cleanse The Bloodlines 05:54
5. The Coward's Way 05:05
6. False Walls 08:05
7. Ten Thousand Against One 05:37
8. Earth And Ashes 06:35
9. Call Me Immortal 05:46
10. Apex 08:20



..::OBSADA::..

Brittney Slayes - vocals
Scott Buchanan - drums
Grant Truesdell - guitars
Andrew Kingsley - guitars
Nikko Whitworth - bass




https://www.youtube.com/watch?v=gqUPGa15Oto



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