Angels of Babylon win maximum metal points for their incredible all-star line-up. Not only is the legendary ex-Megadeth bassist Dave Ellefson on 4-string (or 5-string) duties, the band also features ex-Manowar tub-thumper Rhino and vocalist David Fefolt (Forgotten Realm). The only relatively unknown musician on the album is Ethan Brosch on guitars, and ironically perhaps, it is his performance that really stands out the most on this album.
As with all Metal Heaven releases I have heard recently, the production is first-class; a huge, luscious, overwhelming sound, where every musician is heard as clearly as you could ever want. Another feature of Metal Heaven releases is their faithful adherence to the `true metal’ cause - every release I’ve heard from that label recently sounds like a re-released classic from the 1980’s rather than a brand new album from 2010 - `Kingdom of Evil’ is no exception.
Yes indeed, this is a `classic’ metal release alright! Firmly sticking two fingers up to any modern trends, it’s a big, dramatic, over-the-top affair with rip-roaring choruses, epic atmospheres and long, involved songs. There is also quite a heavy synth presence (although I can’t see anyone credited for it on my promo copy). Musically, I’m reminded a quite lot of Savatage – there is a similar symphonic approach here on many of the songs, as well as a touch of progressive song-writing (which also inspires me to think of classic Fates Warning, and also King Diamond).
Album opener `Conspiracy Theory’ explodes in your face with an un-ashamedly metal drum solo, before beating you over the head with its dark and pounding groove. There are catchy choruses galore, and plenty of sinister atmosphere, as well as some fantastic meaty riffing – enough to get any metal fan salivating.
In fact, there are a number of very strong songs on this album worth mentioning – my particular favourite is `Apocalypse 2012’ with its incredibly catchy, powerful chorus and crushing stomp which does the entire band justice; in particular David Fefolt’s powerful, slightly gravelly voice which belts out this song with particular aplomb. `Tear Out My Heart’ strays into power ballad territory but fear not! It’s accomplished well, and manages to be both a ballad and powerful, with a great Black-Sabbath inspired main riff. `Oh How The Mighty Have Fallen’ is also a great epic track, with some more mighty riffage which had me nodding furiously, and a great chorus reminiscent slightly of Iced Earth’s more epic songs.
At this stage I feel I must warn metal guitarists and those who love guitar heroics – this album will have you exploding with joy (or pulling your own fingers off in a fit of pique)! Do not, I repeat, DO NOT listen to while driving! This album will have you playing air guitar before you even realise it – Ethan Brosh’s amazingly athletic solos are that good. Almost every track on the album contains a burst of unrestrained six-string ecstasy.
Unfortunately the album isn’t consistently great all the way through. Despite the collective talent and expertise of the musicians in the band, the impetus wanes towards the back end of the album. I thought that `The Remnant’ was a rather pointless instrumental that didn’t seem to go anywhere, and some of the later songs are rather lacking in the energy and atmosphere that the earlier songs have in spades. Overall the constant mid-pace of the album drags a little, and the attention wanes eventually.
Fans of melodic heavy metal will find lots to like in here, and the first half of the album in particular is full of fantastic songs. It’s just a shame that the same power and glory isn’t felt all the way through the album. I also think that the album would have benefited from a slightly heavier guitar sound, which may have pepped up the slightly lack-lustre end tracks a treat.
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