Customer Reviews

After The Fire

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It's good to see that there are new bands keeping the true metal flag flying. Not the loincloth and broadsword variety, but the denim and studded wristband style of metal, with its galloping riffs, blistering solos, and occult-inspired lyrics. Surprisingly enough, America seems to be leading the charge, with bands like Widow, Icarus Witch, and of course Pharaoh.

2003's After the Fire is the band's first album, and it's obvious right from the start that Pharaoh embraces the classic metal sound, owing much of their style to early Iron Maiden, Judas Priest, Armored Saint, and Omen albums. Pharaoh's vocalist Tim Aymar, formerly of the late Chuck Schuldiner's Control Denied project, is a perfect fit for this style of music. A good point of comparison would be Sweden's Wolf, as they obviously share a deep appreciation for classic metal.

If you long for metal's glory days and are ready to raise your fist for METAL, then Pharaoh is the band for you.

Highly melodic with a fierce attitude rises Pharaoh, seen by me as the offspring of Control Denied and all the goodies of 80s traditional metal, but even that's really stretching it. As a minor power metal fan, Pharaoh strikes me as one of the more comforting bands because they aren't (if I have to use the word, then let it be now) cheesy as many others that apply more symphonic elements from use of keys to full-on opera style ethics. No, all we get is straight up harmonies, shining riffs, galloping rhythms, and whatever else is around the corner.

When it comes to vocals, power metal is one of the last genres I hit. Most screams and growls I can manage since they all stay within the same type of range, but power metal hopes to bring more of a unique approach out of the band, and Aymar pretty much had that down from day one. I'm not too familiar with his past bands, but something about his voice is extremely soothing without becoming whiny or childish. His vocals are hoarse and grainy, but loud and proud enough to scare anything in the animal kingdom. It's a more manly style, which gives the music a hell of a lot more edge.

Guitars are the first to take advantage, utilizing two different takes on creating magical songs: soaring riffs and harmonized leads. The tone of the guitar isn't too bludgeoning, but it's solid enough and pretty innocent. The real charm comes from the leads, which remind me of a more delightful, medieval Iron Maiden. There aren't too many twin lead attack moments, but the music is highly melodic and easy on the ears without becoming simplistic. "Forever Free" qualifies as the first track to really run home with these traits, but they're not too far and away with the rest of the songs. Bass support could be more beefy, although you notice it adding a bit to the music in the form of riff-following. I wish it was louder as to provide an extra layer of music, but the experience is all right the way it is. Drumming itself it fun, but they sound kind of stale and definitely a notch lower in the mix. They're nothing obvious, since Black is frantic as all hell and appealing when lying down a smooth, calm pattern.

The songs themselves are catchy but not particularly epic, which kind of makes this album a little bit lacking when it comes to replayability and enjoyment. They're good tracks, but the band could have gone the extra mile, a deed which could have paid off heavily. They missed the chance with this album, but they scored big time with the sophomore, which I recommend over this one. Give this one a chance, though, and you'll find it in your heart not to part with it.