Hail --- Eden Shadow --- 2012 (White Knight)
As I mentioned some time before, I generally don't review --- even listen to --- EPs as a rule. I prefer full albums, though on occasion I do come across one I really like. That's the case with "Hail", the debut offering from instrumental (at least on this recording) progressive metal quartet Eden Shadow. The band have only been together a short time, though the musical ideas have apparently been flitting around creator and guitarist/vocalist (?) Ryan Elliot's head since he was in school. There are only four tracks on the album, though in fairness two of them are over seven minutes long, with one clocking in at eight and a half. Even at that, you're still only looking at less than a half hour of music here. So, is it worth shelling out for?
Well...
"Submerged" starts us off, with some little touches on the keys and then some effects before Elliot's guitar blasts in and the keys take on a synthy, wailing flavour, while heavy percussion from Tom Burgess is joined by solid piano from Rob Reed, and a steady bass courtesy of Alex Broben. It's a heavy opener, with a definite grounding in progressive metal and some fine guitar work from Elliot, a sort of dramatic, urgent tone running through the melody, the sound kind of putting me in mind of the likes of Shadow Gallery. In the fourth minute the tune takes a subtle directional shift off the back of double banks of keyboards, then slows down again before kicking up for the finale, ending with some fine guitar histrionics from Ryan Elliot and taking us into the title track, which is one of those longer songs I spoke of, this one coming in at just under the seven and a half minute mark. It opens with atmospheric, sweeping keys and a busy bassline with a sort of eastern tinge to the guitar as it comes in; sort of touches of "Kashmir" there.
Some grinding guitar meshes with punchy organ as Reed and Elliot joust, then it seems Reed has won as the keys wail off into the distance solo, some choral vocal effects washing over the melody before Elliot returns, guitar in hand, for a rematch. A great solo by him beats out the keyboard man this time, and the rhythm section look on, keeping the beat and steadying the ship as the combat continues. Reed's frothy organ is not to be denied, and it piles back in as Elliot rips off some lavish riffs, the two again going head to head, then a truce is called as everything drops back and the opening melody returns. Guitar fades back while on the back of either choral synth vocals or possibly human ones Reed runs off a bubbling keyboard solo as the tempo slows down and the song heads into its final minute. Keys pretty much take over now, rippling vibes or marimba or something leading out the ending in a kind of psychedelic outro.
Soft synth and piano lead in "Run away with me", which has the most commercial sound of the four tracks on the album, and features what are definitely human vocals, even if they just run some vocalise in the background. This song is so catchy it's really crying out for a proper vocal line, but what vocals there are are buried deep in the mix, so they come across as distant and lost in the music. Pity, because if they were pushed up just a bit and cleaned up, made more discernible, Eden Shadow could have some airplay with this. As it is it's a great song, the keyboard and organ parts are great, but I feel it's an opportunity missed. Of course, they may want to stay as a purely instrumental band, and that's fine, but if so why introduce vocals of any sort at all? Odd. Bands like And So I Watch You From Afar have made a career of being just instrumental, and they never --- as far as I have heard --- use any vocals.
The EP closes on "Forest dance", the longest of the four tracks at just under the eight and a half minute mark. Little nature sounds are swiftly joined by a jangly guitar and dancing bass, with a sense of celtic music somewhat, then the synth sighs in and takes the melody to another level. Some more backing vocals, sort of reminds me of mid-seventies Floyd in tone, and a nice little guitar line moves the song along, Elliot's fretwork getting a little harder as it reaches the three minute mark then stepping back and allowing some introspective work to come through. Nice rolling, chiming effects on the synth (could be samples; they're mentioned) and then some sprightly piano as the guitar gets a bit higher and more forceful, though yet restrained in an odd kind of way. Some very proggy keyboards lead the song out as Elliot fires off a last volley on the guitar before we leave the forest and the album comes to a close.
TRACKLISTING
1. Submerged
2. Hail
3. Run away with me
4. Forest dance
Whether Eden Shadow retain their mostly instrumental style once their first full album is released, or whether they decide to expand on the limited vocals that characterise "Run away with me", it's clear they have a massive amount of talent and should easily establish themselves at the forefront of the progressive metal movement. I'll be watching carefully to see how they develop, but one thing is certain: we have not heard the last of this promising new band.