Customer Reviews

The Towers of Avarice

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When I first listened to The Towers of Avarice (Zero Hour's second CD, their self-titled first being all but out of print), I wasn't impressed. I had a hard time getting into the relentless, complex riffing.

I've given the matter more thought, and added to it two new elements: (1) time, and (2) a growing appreciation for different forms of progressive metal, power metal, and symphonic metal.

In other words, my mind expanded and my tastes broadened.

So here I am once more (say, didn't Marillion coin that phrase 20 years ago on their classic album Script For a Jester's Tear?) listening to Zero Hour's The Towers of Avarice.

And I must say I'm detecting much more depth, originality, and creativity this time around. It's still complex and relentless riffing, but now I have a better perspective on what it all means.

In short, The Towers of Avarice is a truly -- dare I say it? -- towering achievement. It manages to snag the best of Dream Theater-like bands, add the quirkiness of, say, Pain of Salvation, mix in a drop or two of Symphony X's power, and cap it all off with a smattering of Queensryche's mysteriousness and sense of drama (check out "Reflections," for example).

Guitarist/keyboardist Jasun Tipton is a force to be reckoned with. He's got all the chops and the fleet-fingered dexterity of John Petrucci. Yet, I would urge Jasun to develop more majesty, grandeur, and melody in his songwriting and playing.

Vocalist Erik Rosvold has a powerful voice. Sort of like a cross between Jorn Lande, Russell Allen and Geoff Tate (on the beautiful "Reflections," for example). Erik can belt it out, growl with the best of 'em, yet drop down into a smooth-toned melodic sound when necessary (and I wish it were necessary a little more often just for the sake of variety).

Drummer Mike Guy is creative, clever, and adept at handling all the time changes and bursts of speed.

Bassist Troy Tipton is nimble, fluid, and quite understated throughout. He seems to have much more to say musically than he's able to say on The Towers of Avarice. (The bass break in "Demise and Vestige," for instance, seems to indicate he has a flair for the dramatic -- and the ability to pull it off.) I'd like to see Troy's playing featured a bit more on future releases.

In all, The Towers of Avarice is six tracks of accomplished songwriting and musicianship. It's heavy. At times, it's busy. But, wow, does this music compel repeated listenings.

And, although this may seem like a small point in the grand scheme of things, I really appreciate the look of quality in releases by the Sensory label. The cover and inside graphics are first-rate. And the whole thing smacks of class. This is a label to be reckoned with. This Ken Golden guy knows what he's doing. He's even the Executive Producer of The Towers of Avarice, so he not only has an eye for quality packaging, he has an ear for fantastic music.

I recommend The Towers of Avarice. If you don't get it the first listen or two, don't despair. Set it aside for a month. Listen to a few other things. Then return to it once your horizons have expanded.

Zero Hour is obviously a progressive metal band with more to say in the future.

I suggest we listen.

Zero Hour is a relative newcomer to the progressive metal scene yet they have arrived with a blast. This is their second album and its a real stunner. Forget the Dream Theater clones, this band is out to make it own mark on the scene. I would go as far as to say that they try to re-define the genre.

Incorperating pounding staccato riffs [that remind me somewhat of Fear Factory] with gentle ballad like passages, they carve out their own nice in the overcrowded prog-metal genre. Their singer could be described as a mix between Ronnie James Dio and John Arch. I say "could" because he has a very unique sound of its own. Prog-metal like you never heard it before. It kinda sounds like... Zero Hour.

And if that would not be enought this album is also a concept album with a very interesting theme behind it. Combine this with a first class production and the beautifull artwork done by none other than Travis Smith and you have one MONSTER of an album on your hands. This will be a classic.

Get it NOW! You will not regret it.

I anticipated this album with a grain of salt, expecting a less technical Spiral Architect/Watchtower type band. Well, I got that, but also a lot more..This band seems to have a lot more emotion and feeling than the afore metioned bands, enough to be peers to Fates Warning! I cannot think of a recent prog metal release that I have liked this much. The singer brings to mind both Dio and Ray Alder, but that's actually a good thing. The cover art is worth getting alone, and the concept is very original even for this type of music. Highly recommended.

First of all, and respectfully, I'll have to disagree with the negative review below (Murphy). Zero Hour has put together a
great concept album that lyrically is extremely solid. As far as the music being devoid of passion and purpose, that couldn't be more wrong. I think the passion comes through loud and clear - you can really tell that making good music is serious stuff to Zero Hour. Every note seems carefully and intricately put in place.

A word to the wise.. if you think Dream Theater is bombastic and technical... then watch out... this album has got some very, very technical spots to it. For that reason, I can see how it would get criticized. However, the power and orchastration of the vocals and the concept of "not being stripped of your right to choose" makes the music and lyrics seamless.

Yes, the music is "crunchy" - a lot of double-kicking bass drums, rivoting bass and short bursts of guitar riffs which seem like 20 notes are played per second. But there are many of us out here that like the "crunchy" sound of this type of prog metal.

One thing that bodes well for Zero Hour - they can't be called a cone of Dream Theater or the other bands mentioned in these reviews. Yes, this is definately prog metal, so there will always be some tie to Dream Theater, but these guys appear destined to carve out a little nitch for themselves.

Get the word out... more people should give this disc a chance.

Overall... very strong debut. The tracks to use as your introduction: The title track "Towers of Avarice" and the simply amazing, blow-your-mind, highly progressive "Stratagem"

Kudos to prog radio - which is where I first heard this band.

Finally, might I reccomend Dali's Dilemma - another "rookie" prog-metal band - check out their album "Manifesto for Futurism".

When I first heard that I thought. It's strange but Stratagem caught my attention and I would listen many times in a row the whole album.

Then I began to read the lyrics and understand the concept.

Every structure. Every passage. Every vocal parts. Everything seems to have a purpose. After understanding the lyrics and the story everything seemed to have a sense. Everything is in place to make a perfect concept album. It has the feel that fits to the lyrics and the story. And what a dramatic story.

On the side of the production I'm very impressed. It's a first album and everything sounds perfect. You have to hear stratagem loud in a good car radio!

As for the musicianship. They are as good if not better than many other Prog/technical band out there.

Very Metal. Very technical. No keyboards as this was a good suprise for me. Seems like every prog band want to go the 'Dream Theater' line up way. Though I like them much too Prog is about diversity. Try to invent and go where no one or at least few have gone before. Like Zero Hour.

Looking through the reviews of this great album was interesting.
Yes this is a highly Techinical album, with a interesting concept, great vocals and amazing playing. I seen these guys live and they are really hot.
This is one of my all time favorite progressive albums, they manage to have there own voice, something which is rare in the prog metal scene. Along with Pain of Salavation and Spiral Architect they are leading the way for the future of this style of music.
Most of the tracks have a lot of energy, but I guess the track that for me really sums up what they are all about is Demise and Vestige. This track is eaisly the longest on the cd, also it is the most complex and manages to keep a strong emotional impact.
I find that I listen to the album every week, it for me is not a hard album to listen to, yes it is very techinical, complex and heavy, it also has a deep side and paints a wide visual landscape, almost like a film score.
This is music is either love or hate, I love it

Well where can I start? Should i start talking about the moving lyrics, the technical playing, or how great of a prog metal album this really is?

Well as for the playing, it is the tightest playing you may ever hear from a band. Everything is on que and everything fits in. The rythem changes are some of the most innovative ones that i have heard, and it does not seem like they are forced at all! Another great aspect aside from the tipton brothers (base and guitar respectively) is the totally sick drummer who seems to handle off time with ease. He keeps all this together and is not afraid to bash the set at all. The tipton brothers come up with some of the heaviest rifts i have ever heard from a band.

Now the lyrics are extremely deep and paint a picture in your mind if you pay attention to what is being said. The singer can sound crazy from one second to harmonious the next. I dont want to spoil the album at all but it is about a people enslaved and a person who is called "the subterranean" who tries to lead an uprising against those in control. To see what happens get the cd.

All in all this i would have to say was the best prog metal release of 2001. I love lots of albums in this genre but zero hour is by far the most talented new (relatively aside from their self financed self titled release) bands to watch out for that might blow one of the "holy trinity" (dream theater, symphony x, and fates warning)of american prog out of the ring. And maybe in the future everyone will associate prog with zero hour instead of dream theater.

Incredibly tight... very heavy... lots of time changes... chunky riffage... extremely technical.... And yes, the songwriting and arrangements are great. It's heartening to come across an album like this - I've been meaning to get it for some time, and am glad I did - I'll definitely be checking out their later stuff.

Zero Hour's second album, The Towers of Avarice, is possibly the most essential technical prog metal album of the millennium. It differs vastly from other bands' works in that it is characterized by an instantly recognisable songwriting aura, with machine-like instrument precision, incredibly haunting vocals, terrific lyrics, and superb production. In short, it offers everything fans of technical progressive metal expect. It is uncompromisingly heavy and capped by relentless riffage, excellent drum and bass work, and minimal keyboards to achieve atmosphere. However, rather than opting for one-dimensional, single-minded technical prowess, their music also presents a strong emotional impact from start to finish.

A curious concept about a society becoming enslaved to industrialist/capitalist ideals where a self-proclaimed saviour named Subterranean struggles to liberate them, the album starts and finishes in the exact same way. The distant key swells that open "The Towers of Avarice" reappear on the final song's intro, "The Ghosts of Dawn", to achieve unity. Musically, however, the pieces are polar opposites. The title track is a fierce number, going through several movements and featuring innumerable riff permutations by the Tipton brothers. It's a slow, haunting start on keyboards with an amazing riff following it and eventually becoming the central instrument. Behind Jasun Tipton's amazing riffs explodes his brother's phenomenal bass groove, and immediately after, Mike Guy lays down pounding drum beats. The trio continue to play the riff till it sinks in before Jasun Tipton displays his impressive sweeping, ever so briefly. Around the 2:20 mark, just as one wonders what the singer sounds like, Erik Rosvold makes his first appearance, putting aside any and all worries that Zero Hour may be another of those prog bands with great music and a horrendous vocalist. On the contrary, Rosvold is among the most talented and versatile vocalists in the genre, exuding an intense hybrid of melodicicm and aggression, and delivering in a very clear, almost Dio-like tone. Shifting from raspy to crystalline vocals, he also does some narration during the song's cold, tranquil breakdown.*

"The Subterranean" is equally heavy; it begins with a choppy, muted riff and prominent bass and drum attacks before it all disappears under a hugely melodic guitar theme that exalts Rosvold's majestic screams. Harsher and heavier staccato riffs return to the centre of the track for a superlative finale. "Strategem" is almost entirely bass driven, decorated with sprinkles of keyboards in the intro and laser-precise guitars strung across. Full of asymmetric rhythm shifts, this may be the most complex song on the album. It is busy with great breakdowns, more Becker-like sweeping, and sudden tempo changes. At its heaviest and most crushing moment, the song breaks into eerie silences filled with gentle keyboards and clean, melodic vocals. Rosvold's "Drop drop drop and liquify, I'll give the world to you, drop drop drop to sanctify, I promise only truth" quite possibly being the most moving vocal melody on the album. Not only is it memorable, but Rosvold's enunciation makes it all the more powerful as well. Back to an aggressive final section, he sings in an angry tone almost identical to that of Jon Oliva's, particularly between 6:36 and 6:59.

The next song will prove anyone who thinks progressive metal has no emotion wrong. These people should hear "Reflections" before opening their mouth. Based entirely around acoustic guitars and synth effects, the lyrics and singing on this track elevate it among prog's most emotional songs ever. Rosvold sings with so much passion and control that he could give Daniel Gildenlow a run for his money. His amazing lyrics need to be mentioned again: "I crawled along a cracked and narrow path, I saw my reflection in some broken glass, it was blood red, blood red..." stressing the last two words emphatically.

"Demise and Vestige" is the centrepiece of the album. Over fifteen minutes, the first couple of minutes are mostly driven by Troy Tipton's bass and Mike Guy's drum accompaniment. Soon enough, well-timed strikes of distorted guitars crack the icy wall of sound, and generate an awe-inspiring riff motif. It is a very technical song, but somehow manages to maintain its dramatic inertia. The melodic vocals over sombre acoustic guitars at first and the repeated "Fade Away!" screams atop cutting electric leads later on suggest it's difficult to believe how diverse Rosvold's voice really is. The second half of the song is creepier, highlighted by more melodic lines and even gorgeous harmonies. "Ghosts of Dawn" is an atmospheric track to conclude the album. Keyboard effects, strings and plaintive vocals unite, stressing Rosvold's "Death comes to those who hate" lyrics and leaving the listener shuddering in awe.

Dino Alden is the best producer (along with Neil Kernon) for this type of music around, and he always delivers the goods, with clear-cut sound separation and a punching sonic quality. Add to this the amazing artwork by Travis Smith and you have a flawless masterpiece. Since its release in 2001, this disc still gets regular plays and refuses to get old or boring. It is simply astonishing.

* Erik Rosvold left the band shortly before the band's third album A Fragile Mind was recorded. Fred Marshall, the singer on this disc, has also parted ways, leaving his position to former Power of Omens vocalist Chris Salinas. The band is currently working on their new disc slated for a fall release.

These guys are really showing promise, with Metamorphosis being such a surprisingly strong and developed debut album.

I think Towers is a bit harder, crunchier, and a bit darker than the first album. This is all good. I can't really put my finger on who they sound like in the rpog genre because they really don't. There's a dark mysteriousness in their sound and Erik's vocals and role playing are killer. Not to be confused with sounding like him, but he's got a style with his singing that I can only compare to King Diamond with going in and out of different styles of vox.

Every so often there's a weird quirky sound or something from the drums or the bass and they really serve to give the album a bit more depth.

Overall, this is an amazing album and will serve to please for years.