| Musical Style: Instrumental/Hard Rock | Produced By: |
| Record Label: Independent | Country Of Origin: Cyprus |
| Year Released: 2018 | Artist Website: Kikis Apostolou |
| Tracks: 11 | Rating: 85% |
| Running Time: |
Phases of Time, the independent July of 2018 solo album of Nicosia, Cyprus based veteran guitarist Kikis Apostolou, stands apart with its multi-dimensionality, both in terms of featuring instrumental rock numbers and full length vocal cuts. Its release follows on the heels of quite the prolific streak from the artist, beginning with his contributing lead guitar to three tracks off the Arrayan Path 2011 debut Ira Imperium but also including the pair of albums he recorded with Chainsheart, Just Another Day and Leaving Planet Hell from 2012 and 2015, respectively. In between, he reformed with his initial group Armageddon Rev 16:16, originally known as Rev. 16:16 at the time of its 1991 self-titled EP, to put out its 2014 debut offering Sundown On Humanity. With such momentum behind him, Apostolou entered the studio to complete work on Phases Of Time, which aptly lives up to the billing of his press material as ‘a journey through his musical experiences as well as his charismatic guitar playing’.
Artists that combine instrumental and vocal cuts onto a single album are no stranger to Angelic Warlord, with Visual Cliff the first that comes to mind. The Pittsburgh, Pennsylvania project of guitarist Rob Perez and vocalist Shane Lankford has gained renown for its emphasizing of jazz-fusion instrumentals and heavier rocking vocal cuts intrinsic to a progressive edge. Likewise, Swedish guitarist Thobias Wiklund follows a similar pattern on his 2015 solo release To Remember The Forgotten with a joining of melodic hard rock vocal numbers and instruments that run the gamut from the bluesy to acoustic to ethereal. Which brings us back to Phases Of Time and how it takes the heavier stance, with its instrumental material drawing upon an eighties guitar shred basis - names such as Satriani, Chastain and Howe come to mind - while that vocal leans towards melodic and power metal with occasional progressive nuances but innate to lyrics reflective of the artists faith.
Opener “Under Confusion” is first of the albums six instrumentals. It approaches the instrumental rock genre from a darker slant, noting how keyboards start out symphonic only to in time turn ominous, while allowing room for Apostolou to combine equal parts delectable harmonies and his above the line lead guitar abilities. Impression is how he stays true to the song, as found in how he promulgates melody in favor of the one-dimensional ‘wankery’ often associated with instrumental hard music.
The ‘song orientated instrumental rock’ inclining spills over onto “Shadow Of An Angel’s Wings”. Getting started as if shot from a cannon, the song literally flies in near speed metal fashion to ardent guitars and herculean rhythm section only to abruptly decelerate a couple minutes in to a gentler and more reflective bearing its remaining span. Audible bass and bluesy guitar played with manifold feeling lend a moody vibe until woodwinds and orchestral keyboards bring things to their momentous close.
Guest vocalists front the five vocal tracks, of which “Armies Of The Cheruvim” is the first. With the smooth, classic tenor of Nicholas Leptos (Arrayan Path, Warlord) leading the way, “Armies Of The Cheruvim” proves epic power metal manifest with its symphonic choir vocal opening, grandly elevated verse sections and neo-classical laced (and quite catchy) refrain bounding at the more upbeat tempo. Do I detect a faint hint of Theocracy?
Back to instrumental territory with “Full Moon In Spain”, a pointed three and a half minutes of bombastic riffing, imperious harmonies and intense lead guitar. As its title implies, the song tapers for a passage at the mid-point to feature a classy Spanish guitar solo.
Second vocal track “Living In A Carton Tent” features Armageddon Rev. 16:16 front man Jimmy Mavromatis. Musically, it trends towards melodic metal in hinting of Bloodgood, the least of not which being how the at times raspy and others soaring vocal delivery to Mavromatis reminds of Les Carlsen. That said, vocals end up mixed a bit forward, which is the only misgiving in what otherwise amounts as near an immaculate production job you will find.
The pouring rainstorm at the start of fourth instrumental “Heaven Wish” gives way to the bountiful harmonies and melodies that carry its distance. Slow, moody and subdued, the song separates as one of the albums most tempered - somewhat akin to Visual Cliff in this regard - as Apostolou reflects upon the more introspective side to his playing but interspersed with occasional moments leaning towards the harder rocking side of things.
The classic rock bent to “Down On My Knees” works well with the blues soaked vocals to Andreas Papamichalopoulos. With Hammond B3 and bluesy guitars setting a courser tone, the song might not rate with the albums heaviest but stands out all the same with its abundant sense of groove and notable melody, bringing to mind Brazil’s Destra either way. I particularly enjoy the sharply played lead guitar closing out the final seconds.
Tania Kikidi fronts fourth vocal track “Through Laughter And Cries”, a six and a half minute mid-tempo melodic hard rock cut innate to a light progressiveness. The song opens its first two minutes instrumentally, running the gamut from atmospheric keyboards to beguiling lead guitar, prior to Kikidi lending her soulful vocal aspects to plodding verse sections breathing of animated bass and engaging refrain of a more uplifted quality. A second instrumental run at the mid-point points towards the neo-classical while the final instrumental seconds revisit an atmospheric form.
Instrumental “Black Orpheus” maneuvers its brief (three and an half minute) length to classically flavored guitars joined by equal parts Hammond B3. Do not get me wrong in that “Black Orpheus” is a fine song, and perhaps it is just me, but organ takes up too much space in the mix for my taste, dominating when it probably should have played a more backend role.
Back to progressive vocal territory with second six and a half minute cut, “Point Of No Return”. This one features Pavlos Gregoras, whom brings a deep-set and expansive (almost baritone) delivery that fits nicely with the songs shadowy feel, as cavernous rhythm guitars stand alongside a deep rooted sense of groove. Instrumentally, a lengthy run highlights the artists blues drenched soloing.
Closing Phases Of Time is fittingly entitled instrumental “Ending Theme”. An ethereal keyboard solo gets things going prior to the song jaunting forward at a mid-tempo clip to guitar riffs of an affluent nature, only decelerating for the occasional laid back passage to feature guitars playing a calmer role.
Phases Of Time adds up to the quintessential at times instrumental and others vocal hard music release, or at the very least rates besides the best offered from the artists previously referenced. Of course, Apostolou shines with his varied playing - the album if anything proves he is not a one dimensional ‘shred-bot’ - and ability to compose a memorable piece, whether instrumental or vocal. Speaking of which, he did a find job selecting vocalists in terms of range and style and matching them with the correct song accordingly. Overall, if a fan of instrumental music or any of the styles referenced then I recommend making Phases Of Time a priority purchase.
Review by Andrew Rockwell
Track Listing: “Under Confusion” (4:17), “Shadows Of An Angels Wing” (5:23), “Armies Of The Cheruvim” (4:22), “Full Moon In Spain” (3:30), “Living In A Carton Tent” (3:48), “Heaven Wish” (4:12), “Down On My Knees” (4:44), “Through Laughter And Cries” (6:29), “Black Orpheus” (3:22), “Point Of No Return” (6:37), “Ending Theme” (5:31)
