Warrel Dane hardly needs much of an introduction. With his inimitable voice, he is considered by some as the most valuable asset to the Nevermore family, being an inspiration to many but never quite being matched. The frontman has momentarily stepped away from the confines of Nevermore to do his own thing.
Solo projects aren’t the easiest musical entities to predict, assuming that often artists break away from their band to experiment with different styles and sounds while retaining the expected formula of their main band, and of course, with Warrel being joined by members of Soilwork I was kind of expecting more of a melodeath influence, perhaps with some progressive nuances and subtle gothic undertones. In actual fact this album encompasses all of the above and more. The underlying mystery and beauty of Praises to the War Machine unravels further with every listen, and there are things that you don’t instantly notice but suddenly it makes sense upon the third or fourth spin.
The complexity of Nevermore is virtually non-existent here, engendering a more straight forward style, and yet as a release this sounds intelligent and has a sound that is swathed in sophistication. Heavy passages are utilised in a way that emphasises the intense emotion and power, embedded in melodious sequences of inexplicably iridescent beauty. The album kicks off with a memorable opener ‘When We Pray’ which contains some jagged verse riffs that instantly highlight the input by ex-Soilwork guitarist Peter Wichers. The chorus is melodic yet lively with an infectious vocal line, while a prominent bassline fills in the blanks.
‘Let You Down’ is another track delivered with a powerful kick to the sound, containing a certain Nevermore feel to it mixed with a haunting guitar repetition that blends into the lead guitar work. It is on songs like the quasi-ballad ‘Brother’ where Dane really pours his heart and soul into the deeply personal and pensive lyrical compositions. His dark vocals fit the gothic nature of Sisters of Mercy track ‘Lucretia my Reflection’ perfectly, while giving it a metal edge with chugging guitars and a heavy bridge passage. The mood of the album seems to get progressively introspective, with the reflective laid back sounds of ‘Your Chosen Misery’ which has a slight Vervian quality that could see this crossover into the mainstream if given the chance. ‘August’ fluctuates from chilled out acoustic passages to explosions of metal which are equally melodic and heavy that orchestrate the emotion and intensity of the song.
Perhaps the unremarkable ‘Messenger’ wasn’t the best track to let out premature to the album release, but if you don’t give this album a proper chance then you are missing out on what should become one of the best albums of 2008.
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