ALBUM REVIEW: Ludicrous brilliance from Gloryhammer on Space 1992: Rise of the Chaos Wizards

STUPENDOUS musicianship, stupidly brilliant lyric and concepts that focus on the alternative histories of Bonnie Scotland...must be Gloryhammer's newest release.

Is Christoper Bowes under the pay of the Scottish tourist board to create a mythos to rival Northern Ireland's success as the setting of Game of Thrones?

Last time out the medieval struggles on 'Tales from the Kingdom of Fife' scoured the distant parts of the Pictish state after the 'Unicorn Invasion of Dundee'

But fast forward to the 13th generation of the McFifes and we find ourselves in the alternative timeline of 'Space 1992: Rise of the Chaos Wizards'.

After his defeat in the Battle of Dunfermline the evil sorcerer Zargothrax has been in frozen slumber -  a slumber that the Chaos Wizards are determined to destroy and bring back the scourge of mankind.

Stop sniggering at the back and pay attention! For all the madness on the lyrical front this is a superb example of power metal. And, given the mad nature of many a symphonic or power metal's lyrics why shouldn't Bowes et al take it to the next level.

On Voice-Modulated Star Nucleus Thomas Winkler manages to keep a straight face while singing about the Astral Hammer, the Quest Lords of Inverness, and the 'Heroes (of Dundee)'

The best form of drama, whether it be based on pathos, bathos, satire or comedy needs the performers to stand straight and allow the audience to enter that state of suspension of disbelief.

Immersing yourself in the Chaos Wizards universe can also cause oneself to question whether Gloryhammer are taking the piss or paying genuine homage to epic metal anthems. When we interviewed Bowes on the release of '...Kingdom of Fife' he insisted it was the latter, and rhymed off with affection band names, albums and individual songs. Thus, we not only suspended belief, but also granted Bowes the benefit of the doubt...


Let's be clear though, the Alestorm front man gives full rein to his own performance on keyboards and effects...sorry the credits say he is on Positronic Oscillator Command.

The rest may be playing out Bowes Scottish sci fi wank fest, but they are more than bit part players. They really play and play well.

Ben Turk's drums - sorry Percussive Phi-Quason Battery - hold the entire sound together, preventing it spinning into a Super Massive Black Hole of over-expressiveness. On 'The Hollywood Hootsman' (yes, that really is a song title) he varies between solid rhythm and just the right amount of fills, and the title track has some serious pounding going on.

Paul Templing's riffage on guitar (Dark Matter String Manipulation Interface) is equally impressive on '...Hootsman' with a measured solo. Indeed throughout the album it is that ability to measure the guitar input that is a tribute to Templing's performance and the song arrangements.

Lest we forget, James Cartwright's bass (Trans-Dimensional Subsonic Cluster) is a constant anchor, bridging Turk's drums and Bowes and Templing's exuberance. 'Victorious Eagle Warfare' and 'Heroes (of Dundee)' are two examples of that (astral) bridge.

The whole album is again based on the struggle between McFife and Zargothrax, this time across a galactic tapestry during which sacrifices may have to be made to ensure victory...but we're not going to make the mistake of plot spoilers. You'll have to stick with it to find out the outcome.

But there is one song that will nag your core, will insinuate itself into your very melodic temples like shrapnel from an Astral Hammer's strike may pierce your heart... 'Universe on Fire' is a throwback to the 80s roots of power metal. It is catchier than an STI at a Mars Brothel.

Damn you Gloryhammer, we can't get the chorus out of our minds!

And, this is the real secret of Gloryhammer. For all the nuttiness, the weird styles and the lyrical ludicrous nature of the band the tunes are tremendous; songs that soar; and music that laughs at the po-faced 'serious' metal acts.

For some Gloryhammer will be a guilty pleasure; for the rest of us it is proof that we don't need a note from teacher to have FUN.

Review by Jonny 

PS - this really is an over-the-top video in everyway...

Absurdly brilliant, absurdly wonderful: glorying in the hammer

IT used to be fantasy power metal bands were a dime a dozen across the wastelands of Europe and the northern reaches of Scandanavia, but with attempts to move into symphonic prog directions the purity dissipated and nary could a power metal snappy tune be found.

Then the noble peopl of Bonny Scotland rose up in the shape of one Christopher Barnes – a man last seen boarding Buckfast bearing ships in his Pirate Metal guide of leader of Alestorm.

So far, so ridiculous – fantasy power metal originated from the singer/keyboardist in a pirate band. But you have yet to learn of the sheer glory that is Gloryhammer.

Photo by Steve Brown
www.stevebrownphoto.co.uk

In the ancient forests around the Kingdom of Fife and the territory of Dundee lurked a mighty hero, Angus McFife, engaged in a mighty battle with the evil sorcerer Zargothrax.

The tales of mighty conflicts, magic drgaons, goblins and trolls and repelling the unicorn invasion of Dundee are recounted in Gloryhammer’s début: ‘Tales from the Kingdom of Dundee’.

Stop laughing in the back…unless you get the joke your guffaws are not necessary. Bowes has produced one of the finest power metal albums in many a long trolls lifetime, paying homage to predecessors while at the same showcasing how metal of this unique sub-genre should be played.

Single Angus McFife, with its over-the-top costumed video and catchy chorus, is the perfect example of how to deliver this level of parody with a straight face. And we should remember that parody is only possible if you acknowledge and love the subject matter.

Thomas Winkler was recruited to Gloryhammer after seeing his online audition for Dragonforce (more of which in an interview with Bowes to come shortly) and Winkler delivers a stunning performance of range and depth. Behind him a tight rhythm section, soaring solos, riffage a plenty and Bowes sweeping keyboards underpin the symphonic sweep and dabble with medieval melodies.

Sure you can find a pinch of Manowar, a dash of Dragonforce, a smattering of …Dragon-era Dio and a smidgeon of Hammerfall here and there, but that’s not the point. How many new-thrash acts borrow the chord changes from ‘Tallica and Anthrax?

 

Gloryhammer provide a simply glorious power metal outie; even if you were to set aside the lyrics the music encapsulates the days when we all could listen to our metal and look over the fact that Iron Maiden were rattling on about dinosaurs…The music is as strong as the silliness of the songs.

The Unicorns of Dundee sets the tone for the album with bombast, only let down by the use of an occasional voice synthesised narrative to produce that deep throated accompaniment that so bedevils too many later Manowar songs: the narrative of the lyric and the ‘real threat’ to Fife from Zargothraz is told well enough through the songs without the type of growl that Turisas .

Binding the middle of the album together is the obligatory power metal ballad Silent Tears of Frozen Princess, in which Winkler shows off his voice’s range as much as in other tracks.

From there is a headlong charge to don the Amulet of Justice, shout out our Hail to Crail, delve Beneath Cowdenbeath before wrapping up with the powerhouse that is the 10-minute plus Epic Rage of Furious Thunder.

Those who gaze on at this type of metal saying it shows how metal has disappeared up its own arse. Those of us inside know that the jokes on them. They will never know that we’re laughing with Gloryhammer. As the witty pop-punksters Bowling for Soup say “Rock ‘n’ Roll is really funny when it’s serious”.

Shoe gazing introspective, foppy fringed wankers need apply here. We raise our fists, and shout out for Gloryhammer. All hail Lord McFife!

Yes it is absurd - but perhaps that’s why we love it.