Musical Style: Metal/Hard Rock	Produced By:
Record Label: Independent	Country Of Origin: USA & New Zealand
Year Released: 2019	Artist Website: Evans & Stokes
Tracks: 11	Rating: 90%
Running Time: 45:43

There are two constants in the lineage of multinational act Evans & Stokes.  It will feature New Zealand native and vocalist/pianist Jenny Stokes, making Aotearoa her home, and United States based guitarist, bassist and keyboardist John Evans, residing in Pennsylvania.  Despite nearly 9000 miles separating them (8729 to be exact!), the two have independently released three full-length albums since forming a musical partnership after meeting online in the fall of 2016.  In the words of Evans (from the groups press material): ‘…all of our work is done through file sharing and e-mail.  For this record we have sent over 3500 e-mails back and forth to each other, and as we approach three years of working together, we have still never met, and we’ve only spoken to one another on the phone one time’.

It also includes how each album recorded by the two differs strongly from its predecessor.  Whereas 2017 debut Beyond The Gates ‘resides upon a Gothic foundation but with strong leanings towards metal and hard rock and the progressive side of things’ (quoting the 85% Angelic Warlord review), 2018 follow up effort Valley Of The Kings contrasts with a ‘rawer, stripped down and overall heavier climate’ (noting the 80% Angelic Warlord review).  Both based upon distinct conceptual themes, with former revolving around an individual at the end of her life with no hope that in the end accepts an angel’s offer of peace and finds redemption.  Latter draws upon a historical concept in detailing the rise and fall of the female Pharaoh Hatshepsut, who came to power in the 15th century BC. 

Third Evans & Stokes full length Children Of God from the fall of 2019 further separates as the groups most varied to date.  On one hand, it mirrors the darker and melancholic Gothic (not to mention progressive) components to Beyond The Gates, but also aligns with the direct metal and hard rock nature of Valley Of The Kings.  On the other, it is the first Evans & Stokes album not to be concept related but focuses on singular theme based topics instead, noting songs such as “Oppenheimer’s Tragedy”, “Flames of Notre Dame”, “Savior” and “Garden Of Eden” whose title gives their respective subjects away.
 
Another standout quality to Children Of God is packaging.  Rather than a simple CD insert or mini-booklet, the album comes with a paperback style booklet exclusive to highly detailed liner notes to include write-ups from both John Evans and Jenny Stokes along with background information to each song to include accompanying scripture verses.

Albums opening title track embodies the Evans & Stokes progressive variances.  It starts creepy and ominous to offbeat sound effects prior to gradually drifting ahead acoustically until at the halfway point hard rocking guitars step in to take an aggressive stance the remaining way.  Haunting is the refrain with the whispered chant of ‘war’ at the end.  “Children Of God” bases its prose around the Crusades:

Preparation through
Kiss the wife goodbye
A pilgrimage to do
Hold my banner high

Got my sword in hand
Believers by my side
Stacked the wagon right
For Jesus Christ we die

“Soul To Keep” stands out with its Gothic metal vestiges, with eerie keyboards to start and maintaining the portent feel moving forward as trenchant guitars periodically cut in and out of the darkly woven scene.  Despite the angst, melody does not forsake (noting the catchy chorus) nor Evans’ precise guitar playing, particularly for the driving instrumental closing seconds.

Whereas first two cuts touch upon the Gothic sentiments to the debut, “Oppenheimer’s Tragedy” mirrors the heavier Valley Of The Kings material.  It maintains an up-tempo, rollicking vibe its length, emanating of the churning as found in its chugging low-end and driving riff action but also lightened in terms of the airy keyboards to play a decorative role.  Final minute is instrumental to include added meticulous lead guitar.  As its title implies, song deals with the creation of the atomic bomb and the main scientist behind the project (J. Robert Oppenheimer):

I. Am become Death
The destroyer of worlds
A mind.  That creates to destroy
Should be made to atone
Peoples of this world unite!
Or be turned to stone
The bomb. Will erase our mistakes
It has sealed our fate

Three songs in and it cannot be denied Stokes’ distinct vocal style, suggesting of the darker and lower register – at least in comparison to some female vocalists – but also laid back and soother in lending to both the Gothic material and that in a heavier direction.

“Flames Of Notre Dame”, second straight hard rocker in a row, begins appropriately to a newscast of the Notre-Dame de Paris fire as ringing bells and medieval chanting adorn the backend.  Guitars, however, step forward at once as does an extensive bass line to manifest riveting sense of groove (not to mention melody) as the song pummels its distance.  A bit short at three minutes but essential all the same.

With violin to start, "Godforsaken” hearkens back to a Gothic style with its swarthy acoustic vibe (almost ballad like in form) but at a moments notice picks up pace over its final half as pronounced rhythm guitar takes over (pointing towards a metal feel).  Such variances speak of how the progressive plays an understated role in the group’s songwriting.  In the words of the albums liner notes, ‘this song is about how in the darkest places, in the time of our greatest need, the Lord will not forsake us’:

When all seems lost
When hope is gone
He never takes away
He only makes me strong

When the world deserts me
When I hate myself
He is always with me
I am never
Godforsaken

First single from the album “Dead-Eyed Dolls” represents quintessential Evans & Stokes.  It initiates to a child’s voice alongside blowing wind and keyboards to lend a creepy effect - not to mention all the Gothic overtures you could ask - but added fortitude comes in the form of the powering guitars to flow in and out of the mix at once.  Vocals further lend a shadowing but soaring effect to what amounts one of this reviewers choice tracks.

“Evildoer” also mirrors a darker form.  First seconds are acoustic prior to it moving doom-ishly sluggish as guitars crush in, expressing of the moody and disconsolate through its verse sections only to pick up pace  for the brief explosion of its keyed up refrain.  An Ozzy outtake (and a very good one at that) might be the best way to describe things.  Again, quoting the albums liner notes: “Evildoer” is a song about the death of faith by hypocrisy’:

Walking amidst the fine and decent folk here
Every day is a minefield of shoulds and should nots
The Word is hidden somewhere
Somewhere among them
Behind pride and injustice
Beneath their disgrace

When the children are beaten
Where the homeless lay
Where the faithful faithfully turn a blind eye for another day

“The Devil’s Tongue” is another choice track.  The opening piano and violin contrast with that to follow, as rambunctious double bass powers in to create a pensive mood with guitars snapping and snarling, and a raspy voice repeating the songs title further building upon the caustic resonance.  It is not all aggression, however, in that some of the albums most forthright hooks come forward in the process.  Lead guitar is stunning.

Darkly tinctured semi-ballad “Wicked Ways” dwells upon both the lighter, noting an acoustic presence blended with feedback and harmonies, and heavier, referencing the dominant rhythm guitars to make periodic appearance.  Impression is of the dutifully progressive but without crossing the threshold of epic territory.  Musically, it also proves a good fit for the emotionally somber vocals.  Lyrics are inspired by the Book of Proverbs:

We walk a crooked road
So we can not know peace
Set your mind on things above you
Not on your earthly, wicked ways

Oh, for in our darkness our path might seem straight
But the Lord weighs the heart

So restrain my feet
Let me be justified
Grant me the peace
So renewed am I

I define “Savior” as essential melodic metal, the least of not which being how it embodies many of the albums most notable melodies.  Also succinct at just three minutes, it uses its time efficiently in slowing drifting to gently done opening harmonies only to gain force as it later takes curtly done hard rocking direction.  Perfectly placed refrain emanates with catchy vocal melodies you will find.  Lone misgiving is that I wish it had been carried out a bit longer.

What better way to end things than albums ten minute magnum opus “Garden Of Eden”.  The first seven serve as a melodic instrumental, starting pleasing and affable to piano and keyboards (and lending an engaging Latin flair) only to segue to a heavier direction halfway in as driving riffs and blinding leads separate.  Things resort back to calmer territory the final minute.

Covering the final three is a ‘hidden track’ entitled “Christchurch” made up of acoustic guitar and keyboards with narration at the end.  It proves emotional in paying tribute to the victims of the Christchurch mosque terrorist shooting this past March.

Children Of God starts in a rawer, hard rocking form only to gradually get darker and more Gothic moving ahead prior to reaching its melodic progressive close.  Yes, in the process it musically draws upon the first two Evans & Stokes albums - by no means a bad thing - but becomes its own unique work and ultimately the duos strongest work in the end.  Talent plays a key role, noting multi-instrumentalist Evans and lower register vocalist Stokes, whom come together to perfectly complement one another as a result.  Strengths in production and packaging further lend to the albums value. Placing a label of ‘hard rock’ or “Gothic’ on the album might be accurate but also limiting in that there is also a lot more going on here musically (a potpourri to also include metal, progressive, ballad, doom, etc).  Fans of all styles presented and/or the first two albums will want to check Children Of God out.

Review by Andrew Rockwell 

Track Listing: “Children Of God” (3:07), “Soul To Keep” (3:59), “Oppenheimer’s Tragedy” (3:18), “Flames Of Notre Dame” (3:15), “Godforsaken” (3:59), “Dead-eyed Dolls” (4:30), “Evildoer” (3:20), “The Devil’s Tongue” (3:42), “Wicked Ways” (3:51), “Savior” (2:51), “Garden Of Eden”/“Christchurch” (9:51)

Musicians
Jenny Stokes - Lead Vocals & Piano
John Evans - Guitars, Bass & Keyboards