Pigeon-holing metal bands into one of the vast array of subgenres has gone out somewhat of vogue of late. With every metal band on the scene wanting to appear as truly unique it seems that the harder they struggle, the more they get entrapped with a dreaded label, like some kind of perverse finger trap. Some lean into it – we’ve all sworn we’ve heard eyeballs rolling from a distance when someone at a gig drones on about only enjoying post-melodic-dramatic-black-ogdogmalog-Norwegian-escapist metal or some such (see? Pigeon holing – hard to resist). Most don’t really know what to do with it, usually accepting the good with the bad, sure that their opinion is the best, but accepting their particular brand is not everyone’s cup of tea. Some invariably go into a strop and skulk off to their bedroom, sure that their ‘vision’ isn’t being truly appreciated.
With this in mind, it is truly refreshing to hear an album such as ‘Feed The Fire’ by Swedish metallers (careful now, that’s not a genre),Trial, that simultaneously holds its influences on its sleeve, but manages to blend said influences into something invigorating and fresh.
Opening with an instrumental, another vogue I’m guilty of on recordings, ‘Tria Prima’ gives you a good feel for what’s on the way, soliciting visions of Wacken crowds getting hyped up. Jolly good fun, if let down a little by what feels like ‘bedroom guitarist’ production. This is not a continued issue on the album, which has excellent production throughout so one wonders if this was recorded as a hurried after thought.
No matter, straight into ‘Sulphery’, immediately hitting with tasty dual guitar leads and an excellent driving drumline. New vocalist Arthur W. Andersson certainly offers more of that ‘influences on the sleeve’ delivery of singing. The opening couple of tracks showcase some excellent vocals which offer something between Geoff Tate and Claudio Sanchez, the latter particularly on ‘Thrice Great Path’.
The guitar work throughout is of a high technical standard we’ve come to generally expect from Swedish metal in its many forms, blending excellent dual lead work with some interesting solos that only slightly tiptoe on the edge of neo-classical wankery that usually accompanies this sort of metal.
As we get further into the album, ‘Snare Of The Fowler’ features some guest vocal work from none other than Tomas Lindberg from At The Gates. It’s a peculiar song in its own right; seemingly going in a proggy direction and structure before sudden bursts of power metal, through to naturally heavier sections given Lindberg’s involvement. The addition of these vocals on a song that sounds like Geddy Lee was asked to write a song for Metallium is an odd one, but, it does add to the charm.
‘Feel The Fire’ itself is a bit of a slow-point for me on the album. It’s not a bad song per se, but, when stacked up against absolute belters like ‘Quadrivium’ which sport a genuinely groove-laden headbanger that could have come out of John K’s imagination, it seems to lose the plot a little.
Finishing off with an Iron Maiden influence this time, ‘The Crystal Sea’ follows the tradition of the last track on the album being a 9+ minute epic. It’s just about what you’d expect really – long blisteringly intricate and fast guitar sections, some belted out vocals occasionally interspersed throughout. Much like ‘Feel The Fire’, it’s overly long and self-indulgent. This can work when pulled off precisely, but, is a little bit tiresome towards the end on this particular track. The entire thing seems like it’s at the same BPM, with very boring drums in comparison to the rest of the album.
On the whole, this is a great album by a clearly talented set of musicians, marred by a few questionable choices. The band comes across as confident sounding, and rightfully so. The album has got its bouncy fun moments, and it’s definitely a band you’d want to see at a festival. However, if they decided to play this album in its entirety you might find yourself wandering off to the bar for 10 minutes. Upon coming back, you’d be forgiven for thinking that the band was playing the same song as when you left, but do give them your full attention when you’re back in the room – this band is decidedly not for the birds.
(8/10 Dave Hartley)
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