(Alone)
Rating: 8.0
Sophomore effort by a (surprised) internet collaboration that took flight and now is a hotly sought after live commodity, due to their exclusivity (and talent), having originally pledge to never perform live. Have seen both of their only shows, to date: high energy, fun and slightly technical take on speedy traditional metal.
Ten new galloping numbers, with guitars that occasionally sound like an 8-bit video game. Smooth, clean, high pitched (but not annoyingly so) vocals, courtesy of Katy Scary offer a chance for audience sing-alongs: part of the unexpected live appeal. The disc begins with “As Arrows Hail”, which was actually issued as a lyric video, a couple months before street date.
It puts their best foot forward, giving the uninitiated a taste of what to expect throughout. With a clarion call to arms, “Shadow Of The Dragon” bursts forth, a little mellower, with a nod to commercial sensibilities, but in 2025, no chance of being embraced as such (by radio, video, etc.)
Different guitar tones ignite “Crawl From The Carcass”, a slower, grinding chug, closer to AC/DC or the ’80s Sunset Strip, as guitarist Jeff Taft wrings some emotion out of the strings. Back to a drum backed gallop, for “Altar Of Earth”, as the six-string frequency intensifies, as the higher end of the sonic scale is employed, sounding like a gamer in free-play mode.
To add to the effect, Scary lets loose a heretofore unused wail. Gritty guitar to start “Song Of The Grey Witch”, a straight ahead rocker, although it ends in near silence with just a few quiet notes of low noodling.
“Hawkriders of The Wastes” was the second pre-release single, existing in similar territory to the opener. It features some dueling, double tracked guitars. An earnest “Wild Shape” continues the proceedings, Scary lilting into a higher register, as Taft and the guitar apparently score a “power up.” With a title like “Devastation Be My Name”, might think Owlbear have gone all gloomy on us, especially with the countrified acoustic/electric intro, but a few drum beats hammer things back into (a wild?) shape, as the pace enlivens once more.
Something of an ode to Judas Priest, in structure and texture, “Bloodsilver” is the most “conventional” construct, rapid fire lyrical delivery that approximates the Manowar-ish squeal, on the chorus of “Blood Of The King” (“Till the blood on your hand is the blood of a king!”) Disc closing “The Fall Of Netheril” kicks off with a double tracked Scary in rarefied air (near falsetto), but then there’s also an omnipotent male voiceover.
Regal, unconventional, but also undeniably enjoyable.
Source: bravewords.com
