There is nothing better than hearing, release by release, the growth of a band in craft and sound especially when their potential is realised step by step whilst offering plenty more promise to be anticipated. Such has been the case with British metallers Promethium, a band who has openly blossomed record by record and now breaches a whole new plateau with Faces Of War.
Creating a sound merging old school with modern rapacious flavours, Lancaster hailing Promethium formed in 2007. Inspirations to the quintet included the likes of Black Sabbath, Metallica, Megadeth, and Pantera, essences still colouring a sound today which is as individual to its creators as you would wish. Quickly releasing their first EP, The Revenge, it was in 2009 and with debut album, Welcome to the Institution, that the band grabbed our, as so many others, attention. It was a raw yet accomplished introduction rich with that earlier mentioned potential brought to some fruition in its successor Origins four years later. As it built upon its predecessor’s strengths, so Faces Of War builds upon the second album but with a far more dramatic impact in songwriting to imagination to craft.
A concept album with each song offering a different perspective to war, the album launches at the senses with opener Enemies of Fate. A portentous sonic tone lures a march of riffs and rhythms into view with grooved armoury in its midst as vocalist Steve Graham swiftly joins the attack. It is a composed assault though, the band almost sizing up the listener rather than going at them full charge, providing a healthy mix of intrigue and predacious intimation. In no time guitarists Dan Lovett-Horn and Rossi are weaving a transfixing tapestry which is more than matched by the great vocal backing unity between Rossi and bassist Henry Greenwood; just two aspects in the inescapable maturity and growth in the band’s sound already being unveiled.
The outstanding start is followed by the similarly impressive Declaration. From its initial grooved trespass and Graham’s earnest calls, the track just wormed its way under the skin. The swinging strikes of drummer Kev Yates potently stir the senses, their rapacious incitement aligned to the groaning contagion of Greenwood’s bass as again a great maze of sonic enterprise is cast by the guitars with Curran Murphy guesting with a flavoursome solo. Drops in intensity brings spoken words from Nev Jones as Graham croons, a fluid twist which subsequently sparks a roaring finale before the outstanding P.O.W steps forward with its own dark clouds and intent. Grooves and rhythms instantly collude around vocals as an irritability fuels the nature of the track, essences of those aforementioned influences to the band spicing the volatile air of the track.
A shadowed calm is brought in by next up Shell Shock, its atmosphere as claustrophobic as it is seductive. That reflection rich restraint intermittently erupts in a cauldron of turbulence and emotive turmoil yet all the time guitars continue to weave a suggestive web of melody and predation. It is another gem and though only four songs in fair to say Faces Of War had us firmly hooked; a grip only tightened by 20,21,15 and its wirily grooved stroll. With Barry Mills sharing vocals with Graham across the song it boils with sonic dexterity while rumbling with rhythmic manipulation.
Such the massive heights of the first half of the album maybe it is inevitable that the task of living up to what came before slips up meaning personal tastes are not always stoked up as rigorously yet everything about Turncoat, from its vocal mix and rousing rhythms to sonic invention, is an ear grabbing proposition. It just misses some of the major sparks of its really striking predecessors.
As soon as the grooved webbing of Stolen Valour wraps ears straight after appetite was back to greedy, guitars and rhythms almost dancing on the senses with their snarling and badgering enterprise as again a vocal blend simultaneously entices and harries. With every passing minute the track simply blossoms as it evolves, harmony loaded vocals and creative unpredictability fuelling its compelling arsenal of invention. Another candidate for best track it is swiftly followed in matching captivation by Final Solution, itself an almost deceptive proposal being as intimidating and predatory as it is invasively infectious.
Featuring one of our favourite guitarists in Jay Parmar, Kill on Demand is one of those rousing anthems which have thoughts and spirit as eagerly active as the body. Led by the crunching beats of Yates and the brooding tones of Greenwood’s bass, the track is a magnetic fusion of old school and current ferocious metal shaped by the ever imaginative work of Lovett-Horn and Rossi and capped by the stylish raft of Parmar.
The album closes with its title track, another rigorously catchy and aggressive creative raid warlike in its tone and galvanic in its character. Epitomising the fresh strength and guile not forgetting that real maturity in the band’s sound, the track is a masterful conclusion to one mighty fine release.
Promethium and their sound just go from strength to strength, in turn so too pleasure. Yet there is still the feeling that they are yet to hit their full potential which considering the sheer unrelenting quality of Faces Of War is something to keenly anticipate.
Faces Of War is available now @ https://www.promethiumband.com/product-page/faces-of-war
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Pete RingMaster 12/02/2018
Copyright RingMaster: MyFreeCopyright
The opening whirl of guitar in The Answer had ears totally enthralled, its craft irresistible and continues to tempt across a song which to be honest otherwise did not make the same impact as its predecessors yet was the centre of attention in its increasingly enjoyable company before Crisis of Hope takes centre stage. It too makes a transfixing entrance, its hook fuelled lure Skids like and subsequently coring an emerging Jane’s Addiction-esque stroll. As the previous song, it was bit of a slow burner on ears though making a more than decent first impression, but grew minute by minute, listen by listen into another highly enjoyable encounter within Dawning if still missing the heights of the first trio.
right away. Vocally Hulse again impresses whilst rhythms dangle addictive bait before ears, it all glazed with a sonic mist and causticity woven skilfully by Fide. The bass of Hamnett almost stalks everything around it, again its heavy grizzle of a tone magnetic within the sonic smog. The track is riveting and makes a raw tempest to which the following melodic beauty of emotive Wounded offers a superb contrast and companion. Showing more of the vocal depth of Hulse and creative potency of the band, the song plays, as its predecessor in many ways, like a mix of nineties band Skyscraper and Pearl Jam. It is a tantalising and bewitching mix of power balladry and raging passion, which with the last song sets the pinnacle of the album.
centred the core of their sound in prime heavy melodic metal, though it is as full of aural colour and sonic spice as ever. This definition of their direction we would suggest goes much towards the bigger deeper sound making the songs immersive and captivating, that and the obvious evolution in maturity and musical skills. From the opening track Won’t Break Me the leap in sound and composition openly hits, the track immediately wrapping the ear in sonic flames from the guitar and a bass and rhythmic inducement which stands bold and tall in craft and presence. The vocals of McGahon have also found a richer voice and delivery to match the sounds, and as the contagious opener rampages it all makes for an intensive lure for thoughts and hunger. There is a familiarity to the song which teases but as from day one with Promethium, band and music refuses to be compared to anyone else such the unique flavour of their music.
cinematic menace, its tantalising and sinister breath evolving into an electro metal taunting of the ear ripened further by the crisp and potent rhythms and knee staggering riff strikes. Alongside the formidable aggressive provocative the keys continue to wash the ear with evocative and warm caresses whilst the vocals similarly seduce rather than antagonise for a strong and expressive welcome. After listening to the album and in hindsight, the song is maybe not the track we would have chosen to lay an invitation down for the album but there is no denying its imaginative venture with symphonic whispers coating its rising flumes of melodic elegance.
