| Musical Style: Instrumental Hard Rock | Produced By: Dennis Cameron |
| Record Label: Girder Music | Country Of Origin: Canada |
| Year Released: 2019 | Artist Website: Dennis Cameron |
| Tracks: 10 | Rating: 85% |
| Running Time: 47:32 |
Angelica’s pivotal step into the instrumental end of the hard music landscape with the summer of 2019 Girder Music release of its aptly entitled fifth album Without Words, is melodic, sensible and a serious contender to rank within the top ten albums of the year. Better known as the project of Ontario, Canada based guitarist extraordinaire Dennis Cameron, Angelica gained initial acclaim for its melodic metal and hard rock vocal material, beginning with its highly regarded and Rob Rock fronted Intense Records self-titled debut from 1989. On 1990 Angelica sophomore effort Walkin’ In Faith Jerome Mazza took on vocal duties only to give way to Drew Baca, whom fronted third album from 1991 Rock Stock & Barrel in addition to playing a co-lead vocal role with Cameron on 1992 swan song effort Time Is All It Takes (all also on Intense).
I could not help but be skeptical upon hearing that Angelica would be releasing an instrumental album subsequent to a nearly thirty year hiatus. Similar to many, I always identified with Angelica as a vocal project; hence, the manner in which it took a certain amount of time before I could warm up to the idea of an instrumental release. Further compounding matters is marketing strategy, which I initially felt that due to the instrumental direction, it would be better to release the album as a Dennis Cameron solo project as opposed to under the Angelica heading. Perhaps it was also disappointment in that I had high-hopes any potential Angelica comeback album would see Cameron reach out to Rob Rock after having composed 10 to 11 killer melodic metal and hard rock cuts not unlike the debut.
Expectations and disappointments aside and throwing out whatever moniker the project goes under, what it boils down to is the question of whether the music is any good. I have to answer with a resounding yes! It deserves note I am not the biggest instrumental music fan, referencing how my collection includes an entire shelf of ‘instrumental guitar shred’ CD’s that I rarely if ever listen. No reason to name names, but it has been my experience that in many instances instrumental hard rock albums have too much of a sound alike feel from serving as a showcase for virtuoso musicianship to the extent songwriting plays a secondary role.
Not so Angelica, which on Without Words takes a song-orientated approach to the instrumental hard rock genre by striking the perfect balance between musicianship and songwriting. In other words, similar to many of my favorite instrumental artists within the hard music scene - of which I will be referencing throughout the review - Cameron forsakes neither melody nor writing interesting music. Rather, he makes well conceived instrumental songs his focal point and further builds upon them with skilled and proficient musicianship, the least of not which being his already well regarded guitar abilities.
Hence, the best way to define albums three opening tracks, which with their heavier inclining would not sound out of place on any eighties era Joe Satriani album. “WWIII” gets things going with its bouncing guitar rhythms and complementary underpinning groove, impressing of the astute and distinguished as it highlights the artists shred abilities but not to a fault. Sweeping keyboards at the end remind of Buckethead’s Monsters & Robots (opening cut “Jump Man”).
“Wasteland” fades in to offbeat sound effects prior to moving forward to hard charging riffs, heavier than its predecessor (even if slightly) but also atmospheric in contrast with its layered keyboard use (in the most flattering sense). Every bit decisive is the commanding bass line attributing to Paul Oatway, which particularly stands out during a mid-point passage in which momentum slows to a near crawl.
“The Remnant” separates with its variances. The song maintains a silky smooth mid-tempo bent, exuding in the process some of the most engaging harmonies you will hear on an instrumental cut. Yet, at a moments notice it can shift gears towards a slower direction to feature lead guitar played with a great deal of feel and emotion or explode for chaotic passages in which force builds exponentially. Back and forth and back and forth again!
Subsequent three are every bit good, albeit not quite consistently heavy. “Just Amazing”, as its title implies drawing lightly upon the melody to “Amazing Grace”, represents one of the albums calmest and most laid back. It starts its first minute warmly to acoustic guitar only to pick up pace at once as rhythm guitars cut in, making more of a rock statement as opposed to the heavier declarations of those that come ahead. Helping make “Just Amazing” one of my favorites is the length stretch of harmony driven soloing. Do I detect a faint hint of Fourth Estate?
“Tetelestai” reflects upon the heavier and lighter in proving every bit effective. The song gracefully maneuvers its opening seconds to keyboards and evenly done guitars - airy, positive and uplifting - only to abruptly pick up at once as hard rocking guitars cut in to make a more forward statement. Artist again reveals his adept licks and chops, cutting loose with some of the albums most intensely played bluesy lead guitar. Interestingly, “Tetelestai” returns to a dreamy acoustic direction of its final minute. James Byrd’s magnificent Son Of Man release from 1995 comes to mind.
Starting albums second side is its lone epic in the ten-minute and beautifully conceived “Psalm 91”. Initial impression is that it might have worked better as a closing cut in that due to its length it potentially interrupts continuity to the track listing. It otherwise proves a great song, with its first half bouncing between moments heavier and unrelenting (to see staunch riffs making a forwardly catchy impression) and those on the calmer side (intrinsic to acoustic guitar and harmonies of an angelic nature). Pace picks up exponentially over the second, as a darker and portent course reveals in which rhythm guitar touches upon the bombastic and soloing mirrors the somber. Acoustic again carries the final minute.
Quality maintains with subsequent two tracks, beginning with “Dead Come Alive”. What we have is an up-tempo hard rocker that literally soars to inspiring guitar melodies and an intricate timekeeping backbone (noting the work of David Brown) only letting up for the brief (and very cool) mid-point bass solo. “Found My Way” tempers in comparison with its more reserved guitar flavorings and periodic acoustic guitar all the while not backing away from making a strong melody statement. Artist presents with a choice combining of the heavier and lighter on the two.
Ensuing is another favorite in the outside the box “Gumbo”. It presents with a heavier rocking Country Western vibe, adorned with complementary banjo mixed with rhythm guitar and searing guitar leads but with the underpinned low-end groove to match. On one hand, it is jam fusion based, but on the other earthy and rustic (in a positive sense) but always presenting tons of class and grace.
Album takes its lone potential misstep on “Chick ‘N Pick ‘N” in which the Country Western themes are played up to a fault (at least for my taste). I have no problem with the artist wanting to step outside his comfort zone and explore other musical territory but why not attempt blues-rock, neo-classical fusion or a jazz influenced sound instead?
Production and packaging fail to disappoint. Former delivers the guitar heavy goods (as one might expect) but does not overlook making an ample low-end priority. Outside the angelic cover art, latter includes detailed liner notes with scripture verses assigned to each song alongside a detailed description from the artist.
Best way to summarize would be to state I am glad Dennis Cameron is back making music under the Angelica moniker following such extended hiatus, even if of an instrumental form. Musical aptitude, regardless of heading, is up to the standards Angelica fans have come to expect. As is the playing of Cameron, who obviously takes opportunity to showcase his guitar licks and chops but in a tasteful manner. Give kudos to the talented rhythm section of bassist Paul Oatway and drummer David Brown. Angelica fans can rejoice in the projects fifth full-length album, as will those of instrumental hard rock music. Next step is for the artist to put together a complement of melodic metal and hard rock cuts and reach out to Rob Rock…
Review by Andrew Rockwell
Track Listing: “WWIII” (4:58), “Wasteland” (4:51), “The Remnant” (4:10), “Just Amazing” (4:18), “Tetelestai” (5:41), “Psalm 91” (8:45), “Dead Come Alive” (4:15), “Found My Way” (3:59), “Gumbo” (3:59), “Chick ‘N Pick ‘N” (2:37)
Musicians
Dennis Cameron - Guitars, Keyboards, Banjo & Mandoline
Paul Oatway - Bass
David ‘Slim Jim’ Brown - Drums
