| Musical Style: Heavy Metal | Produced By: Ty Sims |
| Record Label: Brutal Planet | Country Of Origin: USA |
| Year Released: 2018 | Artist Website: |
| Tracks: 10 | Rating: 85% |
| Running Time: 39:35 |
Despite its name implication, Peacemaker is not out to deliver the passive musical goods, but rather spreads its share of unrest with the traditional meets straightforward heavy metal of its summer of 2018 Brutal Planet Records debut full length Concrete And Terror. A ‘super group’ in the truest sense of the word, Peacemaker draws its roster from many of the bigger names within metal and hard rock circles, including vocalist Ronny Munroe (Metal Church, Trans-Siberian Orchestra), guitarist Scott Miller (Tango Down), drummer BJ Zampa (House of Lords, Yngwie Malmsteen, Obsession), and bassist Rc Ciejek (Belladonna). If that is not an ‘all star’ lineup then I do not know what is.
Of import is how Peacemaker does not disappoint in light of how such talent gels, starting with Munroe, whom brings an at times passionate and others aggressive style perfectly suited for the classic metal sounds at hand. Consider his versatile approach, which allows him to reach down in dark Dio influenced fashion or cut loose with some Dickinson like wails. I always identified with Miller as a melodic hard rock to AOR guitarist in light of his work in Tango Down and Adrian Gale but also proves his versatility in seamlessly transitioning his playing to the obviously much heavier environs that is Peacemaker. If I were to suggest a slight classic US power metal bent imbues the Peacemaker sound, it attributes to the technical fortitude furnished by the rhythm section of Zampa and Ciejek.
Peacemaker, obviously, are not a Christian band and Concrete And Terror not a Christian project, so why its inclusion at Angelic Warlord? Close look reveals how in the albums liner notes the group thanks God, while Munroe openly thanks ‘our Almighty Creator’ and Miller God as well. Lyrics touch upon topics atypical to metal in ranging from fast cars ("Big Block"), zombies ("Jane Slain") and nuclear holocaust ("The Bomb"), but as we shall see in the track-by-track section to the review, there is a bit more than meets the eye in terms of the groups prose.
Speaking of which, album opens to its five shortest cuts, each of which is in the three to three and a half minute range, beginning with “Blood Lust”. A high-powered energy burst emanating of punk like aggression, the song buffets to pasting drums, earsplitting screams and a curtly done refrain speaking of the combative. The ‘blood lust’ in question is against drug addiction:
Filling the order, filling the hole
Waiting for darkness, losing control
Open the bottle, looking for more
Easing the pain, closing the door
Done with the meds invading my soul
The cancerous venom, taker of life
Get out of my body, you don’t’ have the right
“Big Block” follows with a fitting ‘gentlemen start your engines’ voice over intro. In follow up to such a stern opener, it proves the less serious and more lighthearted piece, aligning a thickly weighted low end and hard charging mentality with guitar harmonies of a tightly woven nature. All the while understated hooks help to entice on first listen.
Albums title track tempers to an emotional mid-paced romp. It yields a darker Alice Cooper tinctured quality, creepily flowing through its portent verses only to gain impetus for the epic feel to the ballad like refrain. Outbursts of double kick drum periodically ups energy levels.
"When Insanity Speaks" begins to distorted feedback prior to powering forward to guitars with a decided bluesy quality. With unflagging bass mastering the back end, the song reveals a power metal form as guitars transition to a knife-edge facet in joining with unearthly backing vocals to expand upon the demonstrative scene.
"Kill Love Sin" chugs forward from the get go in hard-hitting fashion, joining with the albums heaviest in terms of its galloping riff focus but contrasting with its smoothly flowing harmony penchant. While otherwise fine, the song does fade out a bit premature at the three-minute mark. “Kill Love Sin” presents with a choice between the three:
In the end of the after
Where do we go from there?
A new world agenda and its buyer beware
When your nightmares are dreams and its time to wake up
You still run in slow motion and the strain is too much
Kill, love sin -
Which one will you choose?
Album takes a calmer heading at the start of its second half for “Endless Dream”. With its front to back acoustic basis, the song reflects upon the warm and reticent as it drifts between moments both lightly ethereal and others appealing to the bluesy. Credit the group for the tasteful manner in which it pulls off such an outside the box track.
My favorite Concrete And Terror cut ensues in “Jane Slain”. What we have is a return to full on heaviness, as clashing symbols give way to hulking guitars and overpowering drums to create a vitriolic four-minutes finding Peacemaker firing on all cylinders. In the end, Haven comes to mind due in no small part from how Munroe adds a soulful slant to his delivery not unlike that of Kevin Ayers. Song actually speaks of having respect for the dead and making the most of our opportunities while here:
Let us pay our respects to the dead
How about when they were alive
Did you hear any words that they said?
Or did you turn a blind eye?
Don’t forget you’re alive when you’re alive
We’re only here once then you die
Jane took the advice and rode on the wings
Then she quickly became equal to kings
“Me Enemy” represents another choice piece. This one comes across as a bottom heavy plodder, rolling bass driven (noting the work of Ciejek) its span in stretching for the weighty mid-tempo but aligning equal doses of melody in order to not wear out its welcome despite its six-minute length. The passion and intensity is literally off the charts.
The darkly woven “Social Suicide” almost touches upon the Gothic, or at the very least the doom-like, as mirrored in its liking towards the somber and forlorn but without revealing any setbacks in terms of the abrasive or repetitious. The unadorned instrumental moments come across every bit start as the ominous backdrop at hand.
Closer “The Bomb” begins hauntingly to narration taken from the 1970 movie Beneath The Planet Of The Apes: ‘Glory be to the Bomb, and to the Holy Fallout. As it was in the beginning, is now, and ever shall be. World without end’. Lyrics accordingly base around the movie in taking a stance against nuclear apocalypse:
Their hiding in their caves so far away
From above as they worship one steel object
All of earth will run, run
Grab a memory, don’t let go
Before very soon that’s all you’ll know
The earth will rumble, the walls will fall
It’s all relevant when you’re dropping the bomb
Musically, it proves varied, altering between deliberate moments of an epic if not apocalyptic metal form and others that take an all out speed metal slant as double kick drum decorates the low end, giving full credit to timekeeper Zampa for his profound work. Vicious, caustic and malicious (in the most positive sense) is the feel overall.
Producer Ty Sims, whom has worked with House Of Lords, Tango Down and Romeo Riot, ensures production is up to standard and then some. Likewise, cover art with its portrait of Peacemaker mascot Zombie Sheriff J.P. Diggs, helps get the groups message across: 'Make peace with... Peacemaker!'
It would suffice to suggest Concrete And Terror is a mainstream release through and through. Yes, lyrics might be a bit dark in places but otherwise are insightful in light of topics ranging from life’s lesions, decision making, making the most of our opportunities or matters otherwise lighthearted. What I have said in past reviews of mainstream releases still holds true: Concrete And Terror might not be for all Angelic Warlord readers, but it is for some, so approach with a certain amount of prudence and discernment in mind. Besides, my experience has been that the best way to identify with the various forms of arts, entertainment and media is to know how to set boundaries for yourself but also to respect the boundaries of others.
Concrete And Terror adds up to a monster heavy metal album. Aggressive in form but avoiding the pitfall of repetition all the same, I see it appealing to fans of traditional heavy metal, classic US power metal and all things in between, particularly that going under the NWOBHM heading and even the thrash/speed metal forms. Of import, is how Peacemaker imbues enough variety in terms of the Concrete And Terror songwriting to keep its material fresh with repeat play, at least to these ears. The significant past experience to the Peacemaker members further helps ensure a professional product, whether it is songwriting, production, packaging or performance. I hope the group puts out a sophomore album and sooner rather than later.
Review by Andrew Rockwell
Track Listing: “Blood Lust” (3:35), “Big Block” (3:42), “Concrete And Terror” (3:32), “When Insanity Speaks” (3:24), “Kill Love Sin” (3:00), “Endless Dream” (4:06), “Jane Slain” (4:04), “Me Enemy” (6:00), “Social Suicide” (4:11), “The Bomb” (4:02)
Musicians
Ronny Munroe - Lead Vocals
Scott Miller - Guitars
R.C. Ciejek - Bass
B.J. Zampa - Drums
