Since the 12th century, King Arthur’s quest for the Holy Grail, the cup used by Christ at The Last Supper, has held generations spellbound – but why? For £9 Easyjet could have got the King of the Britons to Venice. They have seven holy grails in the cathedral there. Each is the real one. Strange thing, religion. He probably shouldn’t have listened to that Round Table of his.
On the theme of bad advice, Nuclear Blast’s press pack states that on encountering the none-more-metal denim-armoured Los Angeles five-some, ‘metal media around the world swooned immediately’ because Holy Grail ‘are sure to win over the most jaded of cynics’. Is that a challenge?
This is unwise when the press pack also states that after winning plaudits (including a Golden Globe nomination) for their earlier album and playing major festivals, they have committed The Ultimate Sin and tampered with their winning formula, eschewing their earlier Swords and Sorcery style to search for something harder edged. In particular the choice of Matt Hyde (Slayer, Children of Bodom) as producer might explain why “Ride The Void” doesn’t quite live up to the press pack frothing. Who is advising these people? Mordred?[1]
The problem with Holy Grail is not a lack of skill but rather a surfeit. Eli Santana and Alex Lee can widdle and diddle with the best of them and would give Dragonforce (who they have shared a stage with) a run for their very widdly money. However, as with Dragonforce there is too much widdle and rather too little entertainment. The vocals are also problematic. At his best James Paul Luna evokes an American Tony Martin, but more often gets lost in a labyrinth of complex arrangements, tricky changes and extraneous guitar trilling. You can bet they all love Dream Theater.
There are also nods to U.S acts such as Trivium and some ill-advised attempts at Death Metal vocals, no doubt courtesy of Matt Hyde. Basically there is an awful lot going on. More is nearly almost more – but not in this case.
Opening track ‘Archaeus’ starts promisingly with atmospheric vocals and a restrained guitar lick, creating a build-up that feels wasted. This is followed by the overblown ‘Bestial Triumphans’ which widdles and diddles with a good chorus, but gets side-lined with Death Metal vocals and a tedious Nu-Metal bit.
‘Dark Passenger’ is, like Queen Quinevere, a fairly decent galloper (hem, hem) and one of the better tracks. ‘Bleeding Stone’ is packed with clever parts and great guitar work and vocals, being ultimately too busy to be memorable.
‘Ride The Void’ continues this theme, starting with a showy guitar riff worthy of Dragonforce before segueing into multiple complex parts. ‘Too Decayed To Wait’ ups the Dragonforce-isms with a crazed introduction before a bizarre breakdown. ‘Crosswinds’ bashes along in Trivium-approved fashion, but is marred by ill-fitting Death Metal vocals. ‘Take It To The Grave’ is likewise very Trivium. The chorus is reasonably strong, but needed a breakout from Da Luna.
‘Sleep Of Virtue’ has a ‘Queen-like’ introduction (according to the press-pack) which in reality is more reminiscent of latter-day Iron Maiden. ‘Since The Scream’ is reminiscent of a very metal Sisters of Mercy has a strong ‘woah-oh-oh’ type chorus, and is only mildly side-tracked by the ‘widdly-biddly-biddledy-bee’ part in the mid-section. ‘Great Artifice’ is indeed highly artificial, combining Holy Grail’s most obvious influences; a Trivium-ish clear vocal followed by Death Metal screeching, with a Dragonforce guitar battle.
“Ride The Void” is concluded by a trite mandolin section, followed by ‘Rains of Sorrow’, a slower number mercifully free of the hysterical guitar trilling, constant time changes and death metal vocals that blight the remainder of the album. Allowed some space, James Paul Luna produces his best vocal on the best track.
All in all “Ride The Void” contains virtuoso guitar work, a thousand clever riffs and many choruses, verses and mid-sections – in every single song. The effect is to make the tracks indistinguishable from one another, and not very enjoyable. This album is as complex as the grail quest and about as pointless.[2] If you are a fan of Dragonforce or Dream Theater you will probably love it.
If King Arthur HAD found the Holy Grail, would he have kept it? On this evidence it would have been one of those treasures that lurks at the back of the chest until everyone gets drunk and wants to show off their obscurities. Sir Lancelot would have dug it for real – but then I understand that his Dream Theatre collection was quite extensive.
(6/10 Graham Cushway Most jaded cynic fails to be won over.)
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