Rise

SKU: PBR 021
Label:
Pitch Black Records
Add to wishlist 

Reign Of The Architect is a multi-national metal project with its core musicians based in Israel.  The main "architect" appears to be Yuval Kramer, guitarist for Amaseffer.  Not surprisingly there is a musical connection here as well.  While most of the members are Israeli, some prominent names crop up: Mike LePond (Symphony X), Jeff Scott Soto, Joost Van Den Broek (After Forever).  The album is put together like a metal opera with various vocalists - male and female filling the different roles.  The overall feel is purely epic in nature.  In terms of musical reference guideposts, Amaseffer and Saviour Machine come to mind but the male/female vocal parts bring to mind Beyond The Bridge.   Highly recommended.

"Reign of the Architect are a multi-national progressive metal band that came together in 2008. Originally started as a side-project collaboration by Mexican drummer Mauricio Bustamente and guitarist for Israeli progressive metal group Amaseffer Yuval Kramer, the group also numbers Israeli singer Yotam Avni of death metal band Prey For Nothing, who wrote the basic storyline for what would turn out to be their debut album Rise.

The group emailed ideas back and forth until it was time to record in 2010. To fill out the lineup, the group recruited several well-known and respected metal musicians, including bassist Michael Lepond (Symphony X), as well as guest musicians in keyboard player Joost Van Der Broek (Ayreon), highly regarded Israeli jazz fusion guitarist Assaf Levy, and the legendary Jeff Scott Soto (Yngvie Malmsteen, Journey, Trans-Siberian Orchestra) to perform on certain tracks. Reign Of The Architect’s first album was delayed due to the inability to find a label to release it, but finally it has seen the light of day. What could have been a disappointment instead was revealed to be a truly gripping, cinematic work of symphonic progressive metal.

Rise is a sci-fi concept album of some sort. According to Kramer, the story is an “allegory of the powers that rage inside the human soul”, dealing with the subjectivity of things such as good and evil, and right and wrong. In accordance with this duology, the music on this album falls into one of two categories; either slower dramatic and mournful, or heavier bombastic and angry. Both are done in a very cinematic fashion, and combining influences from Latin, Middle Eastern, European, and jazz fusion traditions into one melting pot of progressive metal riffing.

After a symphonic intro, the album opens, interestingly enough, not with a high energy song as would be expected, but with a waltz-type song, and then a ballad which starts very minimal and then turns into something more dramatic for the finale. The song “False” has a heavy, desperate feeling, and is a very powerful metal song which descends into a very surprising but very fitting jazz fusion-esque solo. The song also ends with an almost-ragtime piano section, which nicely contrasts the rest of the song.

There are three vocalists featured on the album: Davidavi Dolev, Tom Gefen, and Denise Scorofitz – and this is one of its greatest strengths, as each one is given parts that perfectly suit their range and sound within the music. It adds an amazing amount of dynamicism and variance to the album.

There are also a few guest vocalists to add even more to what Rise has to offer. The singers are given specific characters that are important to the concept to sing. Most appear throughout, as the concept demands, but Jeff Scott Soto makes his mark on only one track: the brilliant “We Must Retaliate”, the second single release from the album. Members of the Israeli thrash metal band Dark Serpent appear on the final song, “Hopeless War” as soldiers, and also making guest appearances (and acquitting themselves wonderfully) are Joost Van Der Broek (playing a keyboard solo on the first single release, “Distant Similarities”) and Assaf Levy, who provides guitar solos on “False” and “As The Old Turns To Sorrow”.

Musically, the rest of the band is excellent. The guitar, drums, bass, and keyboards all sound fantastic and work very well together. Guitar-wise, the riffs in the more metal moments are strong, flowing, and cohesive. The bass parts, half of which are played by Michael Lepond who replaced original bassist Kyle Honea when the latter was unable to continue, are their own entity not just following the guitar. Lepond is a fantastic bassist, one of the best in progressive metal, and it shows here.

Rise is three acts and fifteen songs long, running at 65 minutes. It is not long for progressive metal record, but it does occasionally feel like it drags a bit. All the songs are within the four to six minute range, and contain enough variety to keep things interesting for the most part, but the back half of the album is less interesting than the first half. The first seven songs are brilliant, while the next nine have a few shining moments, namely “We Must Retaliate” “Crown of Shattered Dreams” and “Hopeless War” among others, but are generally a little less remarkable. It is also the first part in a planned two part saga. No word on when the second album will be released, but one can hope it will be just as good as this one.
 

Reign of the Architect have created a fantastic work of progressive cinematic metal for their debut. The variety of sound showcased, and the strong composition and musicianship along with some great guest musicians make this an excellent addition to any progressive metal collection. It is very well-produced and has some very thoughtful lyrics. Rise is definitely one of the top progressive metal albums of the year so far." - The Monolith

There are no review yet. Be the first!

Product Review

You must login or register to post reviews.
Laser Pic

customers also bought

SEE ALL
  • Glass Hammer get all existential on us...Perilous is the new band's new concept album about a man dealing with grand scale issues like mortality.  A bit of a downer but like all Glass Hammer projects there is a ray of sunshine at the end.  Glass Hammer is fronted by Jon Davison who was plucked away by the remaining members of Yes for current tours and cruises.  He remains a member of GH as well.  Naturally with the voice of a Jon Anderson sound alike, the music bears remarkable similarity to Yes.  Some of Fred Schendel's piano work reminds a bit of Going For The One.  When Fred is hammering away on the organ the music takes on a Kansas quality.  So essentially not much has changed.  Glass Hammer's sound has pretty much evolved into a Yes/Kansas hybrid over the past decade and there it remains.
    $13.00
  • Second (or first - they are interchangeable) half of the simultaneous release from this Argentinian prog rock band.  "The Facts" might differentiate itself slightly from "The Tales" in that there seems to be a bit more of a crunch factor in the guitarwork but overall this is still symphonic rock.  Pretty damn good too!  Guesting on this album is the great Damian Wilson on vocals.
    $13.00
  • "Even if I’d spend a decent amount of time, I don’t think I would be able to find an average album in BRAINSTORM’s discography. You can try it for yourself but I am sure you’ll realize that this German band has been releasing very good albums being extremely reliable to its fan base. I am sure some will object to my statement by saying that the albums are indeed good but not stellar. Then you’d reach to the dilemma of what a metalhead prefers his favorite band to release; a couple of really good albums or keep a constant quality level? On the other hand, over-thinking music takes a huge chunk of just-having-fun time, so I will leave all these questions to the hands/minds of the deep thinkers because “Firesoul” comes with ten great songs to sing and headbang along.“Erased By The Dark” opens the album and the trained ear should not have a single problem recognizing the (by now) trademark BRAINSTORM sound. Andy B. Franck’s powerful voice is once again delivering a hearty collection of vocal melodies that do not need a lot of time to get you humming or even singing along. The guitars have a US Power Metal quality that is hard to miss and impossible to fail, so please crank the volume up during the fat rhythm of the self-titled track and “Entering Solitude” (love the opening guitar groove here). “Shadowseeker” steps on the gas and throws in the mix some killer leads that guide the song to a climax during the solo before passing the baton to the album’s highlight, “Feed Me Lies”. This song could easily be a BRAINSTORM showcase for those who have missed this band completely bringing along; the dialogue-like mix of the lead-vocals, the collection of catchy melodies (I challenge you to resist singing along the chorus) and the awesome double guitar action that tops everything off. The band’s German ancestry comes to surface through the solid rhythm that can make you think of PRIMAL FEAR or SINNER; in other words, Power Metal in its finest and obviously I am not talking about the cheesy/cookie cutter one. I have no idea about the bonus material (I will hunt the vinyl edition anyway) but having the album in repeat-mode made me think that the mid-tempo and kind of dark “…And I Wonder” leads to the faster and heavier album’s opener in a natural way, so it will keep you listening.After listening more than it would be enough to write my thoughts/opinion about it, I realized that “Firesoul” is better than the last two albums and I think I enjoyed it as I did “Liquid Monster” that placed BRAINSTORM under my music-radar. This album is the perfect way to starting dealing with this band that I think has not received the deserved recognition (yet) and I will again refer you to its high-quality backcatalogue." - Metal Kaoz
    $15.00
  • "With 'Home', for the first time since their critically acclaimed 'Posthumous Silence' of 2006, Sylvan have taken the chance to create another full-on concept album. Even though the Hamburg natives attach great importance to creating contextually comprehensive pieces of art with any of their albums, this time around Sylvan have upped their ambition another notch and taken on the mammoth task of building an overall concept around the never ending quest of the human condition for 'home' - that very special place that can provide a feeling of complete safety."This is the deluxe mediabook edition.  Same track listing as the jewel box but in much nicer packaging.
    $17.00
  • "A Hauntingly Beautiful and Dark Sophomore Effort. Get it before the darkness comes...Anais Nin said "we don't see things as they are, we see them as we are".That is the absolute truth - in life and in great art, literature, and music. It speaks to you in a deeply personal way. The artist's specific intent, the story behind the story, matters not. What does matter is that when you interact with what the artist has wrought, you feel something. You feel as if it was created especially for you, about you, your life, your life experience. It speaks to you. It makes you stop in your tracks and forces you pay attention. It touches something deep in your soul."The Final Breath Before November" is that album. Edison's Children is that artist. Artists is more accurate. This masterwork showcases vocalists and multi-instrumentalists and Eric Blackwood and Pete Trewavas, drummer Henry Rogers, and backing vocalist Wendy Farrell-Pastore, who also designed the release's haunting artwork. The album was mixed by a virtual Who's Who of Progressive Rock including King Crimson's Jakko Jakszyk, Marillion's Mike Hunter, It Bites' John Mitchell, Robin Boult, and Pete Trewavas.Yes. It is a ghost story. But, that is the most simplistic view of what it is.It is a love story. It illustrates the power of love. It drives us to do crazy things. It endures after death. It endures across time and space. It reminds us that people never really leave you. They linger in the ether, in your heart, in your mind. Their essence stays behind to watch over you.It is also a cautionary tale. It is a warning not to act harshly or rashly. Don't do things that you can not come back from. Don't make mistakes you can not fix. Once things have been done (or said), you can never take them back. You can never get back to the place where you once were. You can never go home again. No matter how much you want to. No matter how hard you try. You just can't.It is a reminder that we have to let go of the pain, hurt, anger, regret and whatever else we have pent up inside ourselves. If we don't let go of all those things, we become stuck and can't move on. We remain in the same place all of our lives. The same physical place. The same emotional place. The same spiritual place. Stuck. Never growing. Never changing. Never becoming who or what we were supposed to be. We remain a shadow of ourselves, forever trapped in a darkness of our own making.It is a reminder that we have to face our demons. They will come at us over and over again until we do. If we don't, they will be back and they will try to pull us down to even darker places. Over and over again. We will be stuck in the mire for our lifetime, for eternity if we don't.What this album says to me is that love is a powerful thing. The most powerful thing in the Universe. But, in the end, you have to let go of those you love. People change. People die. Relationships change. Relationships end. If you keep holding onto someone who is no longer with you, then you can't move on. Not until you let go. You can't be truly happy. You can't feel the sunshine. You can't walk into the light. You destined to live in a hell (or a purgatory) of your own creation. Unless you let go." - ProgArchives.com
    $12.00
  • New 2CD/DVD edition of the live set filmed at the 013 in Tilburg, Netherlands in October 2008. The 130 set includes a complete performance of "Fear Of A Blank Planet". As to be expected the camera work and overall production is impeccable.
    $17.00
  • Debut album from this Czech technical death metal band very much influenced by Cynic. As is typical of the genre its a mix of clean and death/thrash vocals. Real tight playing. Not a lot of fresh meat in this genre - this one is quite welcome."Czech Mindwork is one of those rare bands who seek to channel the later career of Death, and in many ways this debut album mirrors that style of philosphic attunement. I was also reminded in spots of bands such as Spiral Architect, Watchtower and Psychotic Waltz through the band's rather circular, acrobatic riffing tendencies. The title is an apt one, as I found myself further along the record's playtime I became more engrossed in the compositions, which are genuinely riff-tastic, moreso than Death albums like Human or Individual Though Patterns.The band is characterized by their melodic, infectious hooks, busy bass playing and adventurous leads. The vocals can take a little getting used to, they have a filthy thrash tone to them which sounds a little crisp and unpolished in the mix (a little like older Voivod or Deceased), but you'll be paying so much attention to their riffs you will hardly notice. The band is not afraid to traverse a wide distance within a single track, for example "Parasite" is all over the place, part cerebral nightmare and part precision jam session. Other tracks are a little more reigned in, like "Inner Consciousness" and the melodic "Twisted Priorities". You will find very few bands that walk this path in recent years, and Mindwork has a great deal untapped promise even beyond what you hear on this debut. It's all in the name." - From The Dust Returned" blog.
    $13.00
  • This is the limited special edition that is not being released in North America.  It features two bonus tracks and is housed in a gatefold CD wallet.AMARANTHE, the fast-rising modern metal sextet, will release their sophomore album, 'The Nexus', on March 26th via Spinefarm Records.Produced by Jacob Hansen (whose credits include Volbeat, Dreamshade & Ginger Wildheart, and who worked on Amaranthe's 2011 self-titled debut), 'The Nexus' sees the Swedish/Danish outfit further honing a musical style that blends cutting-edge melodic metal with soaring pop melodies, the whole thing topped off by a unique three-vocal attack.Says guitarist and band co-founder Olof Morck: "The moment has come to let loose 'The Nexus' on an unsuspecting world! This time we went all the way with our futuristic dream-nightmare - a no-compromise vision steeped in deep contrast between the mechanically ultra-heavy and shimmering serene melody. 'The Nexus' is everything we dreamed about doing with our debut album; we laboured to make this offering as diverse as it is direct and catchy. and remember, no-one can be told what 'The Nexus' is - you have to hear it for yourself!"
    $13.00
  • Now I've heard everything....Grave Digger's first album in two years is a concept work inspired by Richard Wagner's The Ring Of The Nibelungs.
    $14.00
  • With the anticipation of a new Marillion album on the horizon, we are going to hold back for just a short while on our next concept album. That doesn't mean however... that we don't have something very special to hold you over until the next epic is complete...  We present our new "bridge album" to take you from Edison's Children's last epic to out next, entitled:"SOMEWHERE BETWEEN HERE AND THERE..."is a non-conceptual album featuring several songs that have been kicking around the E.C. laboratory for a few years but will doubtfully ever see the light of day otherwise. It's not that we don't love them... they simply don't fit the "concept albums"of the past or the future. They are however, quite exciting pieces of music in their own right.• 15 never before heard tracks/remixes including 7 all new songs + 2 Downloadable Bonus Tracks(including the 3 new songs that were performed at the Marillion Montreal Weekend)- Growing Down in Brooklyn- Someone Took My Heart Away- Winter Solstice (instr.)- Stranger In A Foreign Land- Ever Be Friends- The Darkness (instrumental track intended for The Final Breath Before November but never used)- Sinner's Minus (instrumental track intended for The Final Breath Before November but never used)• 3 songs from the original version of "The Final Breath Before November" - originally mixed by King Crimson's Lead Singer Jakko Jakszyk incl: the original and slightly longer "whispery ending" of Where Were You!- Where Were You (14:10)- Light Years-  The Seventh Sign• The Longing (orchestral) - Mike Hunter originally gave us 2 mixes... a full on Rock Mix of The Longing as well as a far more orchestral version. We wound up using the "Rock Mix" for TFBBN. Hear for the 1st time what the orchestral version sounded like!• Never before released live version of A Million Miles Away from the 2013 Marillion Wolves WeekendThis is a full 80 minute album!
    $12.00
  • A lifetime ago The Laser's Edge reissued this fine offshoot from Circus.  Its been out of print for years and has now been resurrected by Belle Antique.Blue Motion consisted of Fritz Hauser (drums/percussion), Stephan Greider (keys), and Stephan Ammann (keys).  This was one of the first (if not the first) digital recordings made in Switzerland.  With little to no overdubs, the recording has a live, spacious feel.  The two keyboardists play off of one another in dizzying fashion - it can become hypnotic at times.  Bosendorfer Imperial grand piano, ARP Quadra, Hammond C3, Fender Rhodes, and Hohner Clavinet was their arsenal and they played the hell out of them.  Hauser is an exemplary percussionist and he never gets lost in the fray.  Parts of this may actually remind you of ELP a little bit...but just a little bit.  Highly recommended.
    $34.00
  • Its been four years since this British ensemble's debut album.  Been a long time coming but there have been a number of personnel changes in the band.  Founding members Alex Crispin (vox/keys) and bassist Dan Pomlett left the band, while guitarist Nicholas Richards switched over to bass.  While the band went through a state of flux their core sound didn't really change a hell of a lot.  Yeah maybe its pared down a bit but it is still steeped in the sounds of the early 70s.  Mellotron, organ and reeds abound.  Guitar is a bit more dominant but still with that retro Vertigo vibe.  Vocals only appear on one track and they are OK.  Think in terms of an instrumental VDGG in a massive jam session with members of Soft Machine and Eloy.  As if!  I will be hard pressed to come across a better progressive rock album released in 2012.  BUY OR DIE!
    $13.00
  • "Following the success of their debut ‘Vitriol’, Symphonic metallers Evenoire have announced the release of their sophomore album ‘Herons’. The band combines Gothic and Symphonic Metal with a very distinctive Medieval/Folk approach, with a special mention to extraordinary lead vocalist Lisy Stefanoni, whose ethereal and powerful voice and evocative flute add an extra dimension to the melodies and make her one of the most promising female singers around. And if ‘Vitriol’ was centered on “water” themes, this new album focuses on “fire” and all those mythological creatures that represent it. The music is heavier than ever before although the lyrical side of the band is still prominent. ‘Herons’ was recorded at Dreamsound Studios in Munich, Germany, with Mario Lochert, Dejan Djukovic and Daniel Rehbein (Emergency Gate, Graveworm, Visions of Atlantis) behind the consolle. Mastering and Mixing duties were handled by Jan Vacik (Dreamscape). The band has also announced the collaboration with keyboardist/producer Riccardo Studer (Stormlord, Hour Of Penance). A very special guest appearance by singer Linnéa Vikström (Therion) is also confirmed."
    $15.00
  • "Three years after Ai, Taiwanese symphonic power metal band Seraphim is back in strength with the well-titled Chinese language record Rising, which was also released with English lyrics to the international market one year later. A lot of things have changed between the third and the fourth (and up to now, last) records from the band. Guitarist Lucas Huang, drummer Simon Lin, bassist Jax Yeh and even singer Pay Lee left the band for numerous reasons. Band leader Kessier Hsu was responsible for guitar and bass duties on this release. The new singer Quinn Weng had joined the band back in 2004, and new drummer Van Shaw completed the trio in 2005. Bassist Mars Liu only joined the band shortly after the recordings in 2007, while second guitarist Thiago Trinsi from Brazil came to the band in 2010.Despite all these changes, the fourth record is typically Seraphim, with all the trademarks that distinguished the first three records, and only a few minor differences. The clean male vocals and death growls are less present on this release, and the music focuses on the vocal duties of new singer Quinn Weng. She had quite a difficult task in replacing the unique and powerful voice of Pay Lee, but does a very solid job. Her vocals are very grounded, but nevertheless variable. They are less operatic and spiritual than those of her predecessor, but I think she appeals to a wider audience, as her vocals rock more and fit more neatly into the power metal genre. This being said, the new record has less symphonic elements and focuses on more power metal sounds. The songs have become faster and heavier than ever before, and the drumming in particular is a killer on this release. Just listen to an energizing song like “Spring Wind” and you will understand what I mean. The music makes me think of the Liechtenstein gothic metal outfit Elis or Germany’s Xandria at times.The softer tracks are much less prominent on this album, but once they finally appear they are very strong. “No More” is a dreamy and transcending rock ballad with some commercial potential (and I mean this in the most positive way). The track has an amazing guitar solo, but it’s the calm parts that make me think of a symphonic new age epic. Let me add that Quinn Weng gives her best performance of the record on this track, truly equaling Peggy Lee. She sounds almost as heavenly as her predecessor did, but adds her very own touch upon this track that sends shivers down my spine. This song is definitely one of two highlights of this release, and also one of the strongest tracks in the band’s entire discography, as far as I’m concerned.My personal highlight of the record is nevertheless an epic symphonic piece that goes back to the style of the previous records and takes it to a new level of greatness. The stunning title track “Rising” is easily among the best of Seraphim’s catalog. In almost ten minutes, the song never gets boring, and features very elaborate song writing with catchy parts and diversified changes, as well as folky passages and heavier instrumental parts with tight riffs. This track is a firework of diversity and an absolute must-hear anthem for fans of gothic, power, and symphonic metal alike.In the end, this record is generally much heavier and obviously power metal-oriented than previous releases. Gone are most of the heavenly symphonic elements, but Rising is a lot faster and really rocks. Despite this new direction, old and new fans alike should be kept happy, and funnily enough, the two most outstanding songs are the ballad and the self-titled epic. The new line-up sounds fresh and promising, and I still hope for a new fifth release that might arrive in coming years. The band members are now living all around the world in Canada, Iceland, and Taiwan, but they are bound to meet again this year, and will hopefully work on new compositions. I will certainly keep in touch with Seraphim, and suggest that you do so as well, as well as (re)discover their back catalog while we wait for new things to come!" - Black Wind Metal
    $13.00