| Musical Style: Melodic Hard Rock | Produced By: Stayce Roberts |
| Record Label: Independent | Country Of Origin: USA |
| Year Released: 2022 | Artist Website: The Brave |
| Tracks: 13 | Rating: 85% |
| Running Time: 67:09 |
The July of 2021 independent fourth full-length album from The Brave, Evie’s Little Garden, impressed us so much we ranked it among the top five albums of the year (third to be exact and behind entries from Trytan and The Thomas Thompson Earth Project, respectively). It represented the first album of original material from the group since its 1994 sophomore release Trust and found charter member and lead vocalist and guitarist Stayce Roberts reuniting with original bassist Malcolm Paris, whom performed on 1991 debut Battle Cries. In between, The Brave put out in 2014 its third album Rise made up of both new material and re-recorded versions to classic songs from the past.
Musically, The Brave have always resided upon a foundation of eighties influenced melodic hard rock, noting the polished sounds to Battle Cries and that more blues based of Trust. Rise draws upon both sides of the burnished (Battle Cries) and earthier (Trust) fence. Evie’s Little Garden impresses as leaning towards the pristine texturing of Battle Cries, albeit with a bit more hard rock muscle. Fifth The Brave album Gravedigger from August of 2022 (also independent) trends similar musical territory but when placed alongside reveals a darker semblance (cover art and expanded low end does it for me) and on occasion a metal guitar sheen (found in some of the groups heaviest material).
Albums opening title track embodies such perfectly with its varied, mid-tempo complexion. On one hand, stiller moments home to reticent keyboards and piano set a swarthy tone; on the other, those more lively make room for sinewy guitars and animated bass to speak of the assertive. All the while Roberts makes his presence felt with his heartfelt and grainy vocal qualities.
Of equal form is group’s signature song, “Bravenation”. Atmospheric keyboards take a front to back highlighting stance, speaking of the embellished in terms of the earnest guitars in which they align but also hopeful in light of the chanted refrain they glisteningly adorn. Standing out accordingly is albums immaculate production to emulate the polished and refined while allowing room for ample energy to rise to the surface. Lyric snippet:
The devil tries to blind our eyes
While statues hit the ground
The enemy is at the gate
So let him hear this sound - sing it!
Jesus - Son of God how’d we get so lonely
You are the Living Word - You are my one and only
Jesus – King of Kings - Lord of my salvation
One Name lifted up - the God of every nation
“Ghosts” fittingly opens its first seconds to haunting and offbeat sound effects ahead of militant drums. The mid-paced aura maintains rest of the way, as acoustic guitar and keyboards underpin the chilling verse sections and ominous guitars the too the point refrain. Roberts exhibits his blues influenced (and quite adept) soloing abilities.
“Temples” brings a well-timed up-tempo allure to the album, resonating light metal edges rhythm guitar wise but also flowing to expertly placed low-end groove. The immediately inviting ‘I’m gonna tear your temples down’ refrain is among the albums strongest. Am I out of line to suggest a comparison to early nineties Holy Soldier? Lyric snippet:
I see you all caught up in your pain
And I’ll forgive you again and again
You built a dark cloud around your soul
But I’ll be here and you need to know
I’m gonna Tear your Temples down
I’ll drop em brick by brick all over the ground
And when I throw your shackles down
I’ll let the whole world hear the sound
And let the Walls come down
he metal leaning carries over to “Alive” with the symphonic feel to its keyboards speaking of the orchestral. Otherwise, the song reveals some cool technical time signatures - I LOVE how The Brave has a penchant for extending its material into the five-minute range - along with laid back spoken word section.
Stunning six-minute ballad “Heaven Knows” rates among my favorite tracks. It resonates of AOR, affluent with its steeped vocal melodies, concentrated keyboards and soaring feedback to go hand in hand with the amplified melody. Roberts again is in his natural elements when factoring his eloquent vocal signatures. Lyric snippet:
Heaven sees the tears you cry
There’s no need to wonder why
Heaven holds the key to the only One who can carry us home
Heaven Knows
Whenever the world takes a shot at you
There’s only so much you can do
On your own - when you’re lonely and worn to the bone
You know what to do
“Someone’s Watching Over Me” is another choice cut. It maintains the lighter sentiments, touching upon melodic rock with its acoustic trending and Paris’ forward bass line but also heavier rocker territory for layered moments back by distinct rhythm guitar. Dazzling leads adorn the final several minutes.
A return to heavier territory with “Love Is The Only Place” even if slightly. What we have is an up-tempo melodic hard rocker, exhibiting a crunch driven edge to bolster further the blithesome affections but also a pop-based form as silky backing vocals play a prominent role. I cannot help but sense a slight hint of Petra. Lyric snippet:
Love is the Only Place where I belong (love’s the only place)
Love restores the innocence to carry on (to carry on)
If Heaven is the cornerstone there’s just one thing you need to know
Love is the one thing that will never let you go
When your down and your hurting
And you’ve got no hope in sight
There’s a place where your heart can live again
The darker aspects return on “The Undertaker”, five minutes of thick and weighty hard rock embodying the mid-tempo with its impenetrable low end and bluesy slide guitar signatures. Yet, a contrasting AOR aspect also separates in the groups ever-present vocal melodies to hint of Stryper. Nice work by Spittle with his precise drum rolls.
Second ballad in the six-minute range, “Afterlife” maneuvers its sublime distance to piano and keyboards in maintaining the relaxed and easy going form as commercial sentiments (in a flattering sense) are approached. Occasional heavier rocking passages separate at moments notice, referencing the soaring lead guitar to highlight the final minute. Lyric snippet:
For every step in the sand
We all can see the Father’s hand
A guiding light that leads us home
The Truest Friend we’ve ever known
AfterLife
The struggles that we face
Will slowly disappear
Within the perfect grace
The three remaining songs in my opinion might not be quite on the same level as those previously referenced, but are still solid and in no way skip worthy or fall within filler category. “Bad Day” is a bluesy melodic hard rocker with a laid back and shuffling vibe and “Eternal” an acoustic ballad accented by emotional vocals and keyboards that lend a regal quality. “Strange New World” is five minutes of lively hard rock with a commercial eighties edge.
If Gravedigger does not find The Brave equaling Evie’s Little Garden at the very least it comes close. Regardless, similar musical territory is trended with a commercial melodic hard rock basis. Musical consistency is also upheld, although I wish The Brave had followed the example of recent releases from Reign Of Glory (All Will Bow), Saint (Heaven Fell) and Stryper (The Final Battle) and had gone with their 10 to 11 best songs instead. Of course, Stayce Robert, Malcom Paris and John Spittle remain in top form. If a fan of the styles embodies or The Brave’s back catalog, then you will not be disappointed in Gravedigger.
Review by Andrew Rockwell
Track Listing: “Gravedigger” (4:56), “Bad Day” (3:56), “Bravenation” (5:05), “Eternal’” (4:38), “Ghosts” (5:21), “Temples” (5:04, “Alive” (5:03), “Heaven Knows” (5:55), “Someone’s Watching Over Me” (5:36), “Love Is The Only Place” (5:03), “The Undertaker” (4:45), “Afterlife” (6:13), “Strange New World” (5:30)
Musicians
Stayce Roberts - Lead Vocals, Guitars & Keyboards
Malcolm Paris - Bass
John Spittle - Drums
