| Musical Style: Symphonic Metal | Produced By: |
| Record Label: Independent | Country Of Origin: USA |
| Year Released: 2022 | Artist Website: |
| Tracks: 10 | Rating: 90% |
| Running Time: |
If you are a symphonic power-progressive metal enthusiast, the independent August of 2022 debut full length Glory & Ruin from Flame Imperishable ought to command your attention. Comprising the husband and wife team of Jason Greenberg (guitars, drums & bass) and Jennifer Greenberg (lead vocals), Flame Imperishable reflects the influence of Blind Guardian, Judicator, Opeth, Nightwish and Epica but is also its own band from making use of classical guitar, baritone saxophone, orchestral arrangements and even chip tunes hearkening back to vintage 80’s & 90’s video games. Lending further versatility and rounding out the Glory & Ruin lineup is a host of guest musicians, including multi-instrumentalist Gregg Rossetti (Suspyre), guitarist Drew Creel (Masqued), vocalist John Yelland (Judicator) and classical guitarist Valerie Hartzell).
Lyrically, while not a Christian band per se but made up of believing members, Flame Imperishable draws upon a Christian worldview within a theatrical story-telling context in basing mostly upon fantasy themes. The group is accordingly inspired by J.R.R. Tolkien (The Lord Of The Rings, The Hobbit and The Silmarillion), Brandon Sanderson’s The Stormlight Archives series and The Legend Of Zelda, Breath Of The Wild. Lone exception is the song “The Herald’s Approach”, which bases upon Revelation and false teachers.
Nine-minute opener “The Halls Of Waiting (Oblivion)” is a good indicator of the Flame Imperishable progressive side. Song reflects that both classical, noting the use of classical guitar to adorn the first minute and half and make cameo appearance throughout, and derivative of metal, revealed in pensive double kick drum and authoritative rhythm guitar. Melodic, technically proficient and mirroring the orchestral, “The Halls Of Waiting (Oblivion)” rates among this reviewers choice tracks. Lyric snippet:
Mortal man - and elvish princess
Love undying
But the king, schemed in the night while betraying his kind
A hopeless quest to win her hand
At winter’s end my song awoke the spring
Like the lark the dawn will come again
I cannot bear to live without him
I will follow into eternity.
“Frozen In Time” points to the groups power metal side. It represents albums fastest and most upbeat, upping energy levels - noting continued presence of double bass - but also catchiest from giving prominence to an engaging melody to approach the commercial (song would make an excellent choice as a single). Keyboards further play up the Flame Imperishable bent for the classical.
“Slavebranded” walks a fine line between power and the progressive. A well rounded six minute, song tempers to mid-paced territory while not backing from the assertive focus, glistening with its interwoven vocal harmonies and luminous melody (noting former) but also intricate with its multiple instrumental moments to touch upon the jazzy and jam based (latter). Jason Greenberg puts in a complementary sophisticated showing guitar wise. Lyric snippet:
Storm light,
Glowing forth the rage inside
Trapped within a glass prison
Once breathed by Ancients, now again
Honor’s friend,
Bond the worthy hearts of men
Betrayers of the oath,
Desolation, bringers of war
“Shrine Of Resurrection” speaks of a calmer, AOR infuses disposition. Violin, fusion based guitar and jazzy bass cover the songs flowing distance as it points to the dreamy and atmospheric. Jennifer Greenberg stands out with her picturesque vocal abilities and demonstrates why she invites comparison to Kate Bush and Tori Amos (I would add Leah and Amulyn Corzine to the list).
Another lighter track is three minute instrumental “Bregalad’s Lament” to highlight acoustic guitar and saxophone. Saxophone carries over to “The Herald’s Approach”, a grainy hard rocker to realize a combining of power metal style guitars and crystalline keyboards over a backdrop of rolling drumbeats. Moments range from heavy hitting and aggressive - playing some of albums best extended soloing - to graceful and ethereal in also touching upon AOR. Lyric snippet:
Bestowed with a sword of truth
The champion awaits the judgment
False teachers recoil in anguish
As the mighty crush the fallen
Speak your lies at your own peril
Swift the hammer will lay you down
Let there be light
Let there be solace in the nothingness
The Heralds’ approach
Our doom is nigh
As we shun the light
Darker power metal tinctures to “Reign Of Fire” point to Sacred Warrior and Jacobs Dream. Song cuts in at once, abrupt and curtly woven with its intense disposition but also cinematic as airy keyboards set a theatrical tone. Vocals range from spoken word to operatic in further building upon the melody to command.
Album closes to the three-part and eighteen minute “The Scarlet Gate”. Part one “Darkness Falling”, a two and half minute classical guitar and medieval tinged vocal piece, gives way to part two “The Descent”, a thirteen-minute progressive epic. With John Yelland’s classic tenor voice trading with the symphonic form of Jennifer Greenberg, song establishes a sublime and grandiose landscape as orchestral keyboards, aggressive riffing and jazz-fusion elements intertwine. A bountiful melody to persevere keeps “The Descent” a fresh listen despite the length and helps make it a potential song of the year candidate. “The Reflection” ends the trilogy as a majestic three-minute classical instrumental. Lyric snippet:
As the morning breaks and the seas return serene
Reborn again from leagues below
A heart of sorrow speaks
My love stood by my side, such love divine
What you seem to imagine in grief so bare
Is broken inside the flesh
And you will find not
Comfort in death nor relief from despair
A life wasted on shame from what could have been
But the storm depraved your mind
Took hold its claws into
Your soul led you to falter
Burning all reason on its alter.
On its debut album Glory & Ruin, Flame Imperishable exhibits a high-level of ability both songwriting wise, groups shows a deft touch imbuing its material with notable melodies, and from a musicianship standpoint, realizing the multi-instrumental contributions of Jason Greenberg, choice vocals of Jennifer Greenberg and talented guest performers. I also appreciate the variety of musical forms in that while ‘symphonic power-progressive metal’ is accurate, Flame Imperishable steps outside the box to explore classical music, jazz-fusion, AOR and jam band-based moments. Equally enticing are the theatrical and fantasy based lyrics. In the end, Glory & Ruin add up to a choice release for those into the symphonic power-progressive metal based genres.
Review by Andrew Rockwell
Track Listing: “The Halls Of Waiting (Oblivion)” (9:12), “Frozen In Time” (4:39), “Slavebranded” (6:00), “Shrine Of Resurrection” (5:13), “Bregalad’s Lament”(2:52), “The Herald’s Approach” (5:31), “Reign Of Fire” (4:44), “The Scarlet Gale (Part 1 Darkness Falling)” (2:21), “The Scarlet Gale (Part 2 The Descent)” (12:53), “The Scarlet Gale (Part 3 Reflection)” (2:57)
Musicians
Jennifer Greenberg - Lead Vocals
Jason Greenberg - Guitars, Bass & Drums
Guest Musicians
John Yelland - Lead Vocals
Drew Creel - Lead Guitar
Valerie Hartzell - Classical Guitar
Gregg Rossetti - Saxophone, Keyboards, Orchestration & Bass
