As Above - So Below, the spring of 2007 Retroactive Records ninth full-length album from Deliverance, is a lot of things. It touches upon the ‘old school’ melodic speed metal and thrash of the group’s earlier material, which encompasses its groundbreaking self-titled debut (1989), iconic sophomore effort Weapons Of Our Warfare (1990) and rawer sounds to What A Joke (1991). It also stays true to the ‘technical metal’ of the group’s creative years to include follow up releases “Stay Of Execution (1992) and Learn (1993) and those on the more progressive side in River Disturbance (1994) and Camelot In Smithereens (1995). What it is not, however, is reflective of the industrial and electronic nuances to Assimilation (2001), an album that despite its variations I embrace as much as any within the back catalog of the ‘Big D’.
With its drawing on so many aspects of the earlier Deliverance material, one would not be amiss to suggest As Above - So Below is a ‘return to form’ in more ways than one! Vocal performance from founding member and rhythm guitarist Jimmy P. Brown II suggests this, whom strategically switches throughout between styles both doom-laden and melancholic and that on the gruffer and more aggressive side. Every bit becoming is how the album features the return of guitarist Mike Phillips, an accomplished shredder (best Deliverance guitarist in my opinion) to have last graced the bands lineup on Stay Of Execution. Rounding out the Deliverance roster are newcomers bassist Tim Kronyak and drummer Mike Reed.
With the original 2007 release long out of print, As Above - So Below was re-issued by Retroactive Records in the spring of 2019 after having been re-mastered by Rob Colwell at Bombworks Sound. Added upgrades come in the form of new cover art to include the classic Deliverance logo over a nebulous background (at the top) but reflecting upon an orange to yellow sea (at the bottom).
Am I out of line to suggest that just about every other power/progressive metal album released these days opens to one of those all too sound-alike-keyboard-driven-cinematic-orchestral instrumental pieces in the one to two minute range? Despite obvious musical differences, As Above - So Below starts to one as well in “Legum Servi Sumus Ut Liberi Esse Possimus” but better when factoring at a more well rounded three and a half minutes it comes across as a real song that has specific purpose within the track listing as opposed to taking up space instead.
First vocal piece “Cause & Effect” proves a slugger and mauler fans of the more aggressive first couple of albums will be certain to embrace. Rhythm guitars clobber unrelentingly (walloping verse sections manifest this), while double bass lambastes in bullheaded fashion (as imparted by the manifold refrain). Yet, the final verse that tempers - ‘Have you not seen? Have you not heard? The day of shadows is at hand!’ - sounds as if taken straight off Stay Of Execution. A joining of the old and new school might be the best way to describe things. Lyric snippet:
Have you not seen? Have you not heard?
The day of shadows is at hand!
Your eyes have seen! Your ears have heard!
Decree this hour unto man!
Mark the words written on the wall
Truth divides how the mighty will fall
“Return To Form” mirrors similar musical territory but with the greater thrash basis. This unveils from how Brown reaches down to lend a gruff, lower register allure to his delivery, and refrain speaks of the contentious as the song continually repeats its title with a distorted edge. Those in doubt as to Phillips’ abilities need check out his extended run of adept lead guitar. Lyric snippet:
A tour de force, the old school returns to form
Sounds to me like an overdose of chloroform
I’ve read beliefs and values that bend the scene
A fine line between ideals and obscene
The people say they want the past come born again
Regurgitate the truth from lies, see how it bends
Albums title track contrasts with a sound better in line with Learn and Stay Of Execution. Yes, a more melodic direction reveals - noting Brown’s vocal direction towards darker, melancholic territory - although the guitar driven crunch by no means compromises, with the abundantly catchy riffs making it one of this reviewer’s album favorites. Again, Phillips sets the consummate tone with another protracted soloing run. Lyric snippet:
Quicken the hearts to ‘receive’ the unfettered plan
And lose yourself in the eyes of an egoless drowning man
Thy Kingdom come, Thy will be done both light and in the dark
In my body the Holy Name, I bear the mark
Let the mountains shake and the rocks declare Your glory
As it is with You, so mote it be with me
Let the rivers run strong and all nature bow with humility
As it is with You, so mote it be with me
The somber aura to “Screaming” hearkens back to Camelot In Smithereens. A similar doleful and emotional vibe presents, with impetus of a moody mid-paced nature (once more, vocals reach down low) and hooks subtle but near enough to draw in with repeat listen (melody understated but full). Of note is how the instrumental interlude picks up impetus in galloping fashion. Lyric snippet:
Silence in the night, in between the compass readings
Pages turn in my head and keep my mind breathing
My eyes close, I take the night flight once again
To where my dreams turn so real, and feel the coming rain
Screaming out, intensity builds, running from my fear of Hell
Trapped inside surrounding walls, by this power, will I be held?
Back to a thrash driven sound with “Should We Cross Paths”. What we have is albums fastest to draw upon speed metal, with the non-stop hyperactive drumming lending to the songs full on intensity and the razor like vocals to take over at the halfway point to embody the extreme. No, this might not be the most melodic cut but the unabashed Weapons… like power refuses to be denied. Lyric snippet:
Justice lies beyond the Wailing Wall
To cleanse the threshing floor of failings all
A cure for humanity, to eliminate the waste
Should we cross paths, my victory you’ll taste
We’ve had all that we can take! Nothing more to have!
The Worlds disintegrates, should we cross paths!
Angst maintains with “Contempt”, an unrelenting steamroller to find Brown once more lowering his vocal register to coarse territory in allying with the pugnacious guitar focus to bulldoze its distance. Yet, force backs (if slightly) from the combativeness for the refrain to see clean ‘never-again-never-again-never-again’ backing vocals set a consoling tone. This one walks a fine line between the thrash based material and that of the technical metal variety. Lyric snippet:
You prayed for the well, while the sick couldn’t make it to the stage
Performed ill-licensed counsel while playing the role of a sage
I learned to hate myself, to be ashamed of what I feel
Unable to determine from what is a farce and what is real
Never again - never again - never again, will I submit to you!
Never again - never again - never again, will I bend to you!
Placing an eleven-minute instrumental in the middle of the track listing might seem unconventional - if not somewhat of a risk - but in the case of “Thistles” it works. No, I never have identified with Deliverance as an instrumental ‘jam band’ but it pulls “Thistles” off flawlessly in spotlighting the abilities to Brown and Phillips, whom combine for guitar signatures both accelerated and those on the trudging side (catchy either way) in addition to every bit bristling lead work. Kronyak even gets in on the act with a cool bass solo to start. A slower passage to include piano and acoustic guitar slowly drifts through the final minutes.
“My Love” is first of two crunchers to close the album. The song might rip from the gate in speed metal fashion but settles into a melodic groove several seconds in, embodying a Learn like feel with its assuming riff registers (for the deliberate verse sections) and darker impressions (chorus engages all the same). Pronounced rhythm guitars and soloing carry the instrumental break. Lyrics snippet:
Soaring on the wings, they caress you in the dark
Listen to the waters that calm us in surreal
Believe the Faith that’s led us this far
Emptiness filled by all that we feel
“Enlightened” walks a fine line between the melodic and borderline thrash. It kicks in to vocals at once - somewhat akin to River Disturbance opener “Belltown” but obviously much heavier - in remaining elevated in tempo as guitars chip in and out and drums make a berating statement. Things back off, however, for the ethereal vocals to repeat the songs title in follow up to the jarring (and quite catchy) refrain. Lyric snippet:
I hear and see your point of view, and understand the arguments clear
I don’t want to end our talk with a fist of rage or a sighing tear
So let it be written, so let it be done, you have your views and I have mine
No sense to argue anymore because at least we agree we’re all part of mankind…
Production leaves little doubt as to how As Above - So Below makes guitar its focal point, with the Colwell re-mastering further enhancing in this regard. Room, all the same, remains for thick bass and assertive drums to make their marks as well.
I identify with As Above - So Below as a hybrid album to catch the best aspects of the Deliverance early old school material and technical metal of that to follow. It proves guitar based accordingly, finding the duo of Brown and Phillips each at the top of their respective rhythm and lead guitar games. Plenty of crunch-filled heaviness presents but also melody in needed portions to help it stand up under repeat play. My experience is that there is enough of the former to attract fans of the first couple of albums while latter realizes in adequate portions to garner those into the era to follow. I am going to close by stating the same thing I did in my review of the spring of 2019 Retroactive re-issue to Assimilation, which is to get the re-issue before it goes out of print.
Review by Andrew Rockwell
Track Listing: “Legum Servi Sumus Ut Liberi Esse Possimus (Intro)” (3:39), “Cause & Effect” (4:03), “Return To Form” (4:05), “As Above – So Below” (4:46), “Screaming” (4:33), “Should We Cross Paths” (4:02), “Contempt” (4:02), “Thistles” (11:21), “My Love” (4:59), “Enlightened” (5:32)
Musicians
Jimmy P. Brown II - Lead Vocals & Guitars
Mike Phillips - Guitars
Tim Kronyak - Bass
Mike Reed - Drums
Guest Musicians
Jeff Whiting & Trevor Shannon - Piano & Strings Arrangements
Kevin Lee - Drums
