| Musical Style: Instrumental Hard Rock | Produced By: Bill Bafford |
| Record Label: Roxx Records | Country Of Origin: USA |
| Year Released: 2024 | Artist Website: |
| Tracks: 9 | Rating: 85% |
| Running Time: 30:16 |
The Roxx Records February of 2024 sophomore album Heavenly Realms from guitarist Kevin Pike blends eighties metal guitar shred and more moderate melodically driven moments within a head turning instrumental package. Released in follow up to fall of 2022 debut EP Guitar Graffiti (also Roxx), Heavenly Realms finds Pike maintaining his partnership with legendary bassist Tim Gaines (ex-Stryper, Of Gods & Men, Aldo Nova) and drummer Arnaud Krakowka. Upshot is a work tracing its roots to the late eighties and early nineties instrumental rock scene in which David Chastain (Within The Heat), Joey Tafolla (Out Of The Sun), Jeff Scheetz (Woodpecker Stomp) and Lanny Cordola (Electric Warrior, Acoustic Saint) among others were leading players.
Many will recall Pike from his work in Clearwater, Florida based melodic metal act Arsenal, whom he joined subsequent to graduating from GIT (Musicians Institute) and acting as a private student of guitarist Bruce Bouillet (Racer X). An instrumental feature in Guitar Magazine later led to him getting the gig with Arsenal. No, the artist was not part of Arsenal at the time it recorded its 1990 Regency Records debut Armored Choir but later participated on the bluesy hard rock to the group’s 5-song Peace Child demo. In my review of Armored Choice, I describe Peace Child as ‘heavier at times and more acoustic in comparison to Armored Choir’, while bringing to mind ‘Kinetic Faith era Bride but replace Dale Thompson with a searing female lead vocalist’. Optimal scenario is to re-issue Armored Choir with the Peace Child material as bonus tracks.
Artist stays true to his eighties guitar shred beginnings on opener “Atomic Dragon”. Song echoes of precise harmonies and catchy melodies, but at moments notice it bursts with periodic outbursts of intensely riff driven angst and neo-classical soloing. Added layers of heaviness manifest from Krakowka’s striking work on drums.
The shred mentality carries over to albums title track, albeit in a more forthright form as rhythm guitar makes an implacable statement and artist takes opportunity to let loose with his rattling lead guitar abilities. Over final minute the song takes a delicate turn and allows Gaines’ translucent bass to separate in the mix.
“The Landing” ensues as one of albums briefest at two minutes. Opening seconds consist of ominous keyboards and open-air soloing that decelerate to wistful melodies, as bass gain rises to the forefront to make an elegant statement. The vibrant melody makes one wish “The Landing” had been extended an extra minute or two.
“Future World” opens its first 45 seconds to a wondrous classical guitar solo. At just the moment you think the song is going to maintain the soothing demeanor its span, it kicks into high gear at once to a near speed metal gallop as Krakowka steps forward with frantic double kick drum and Pike aligns with a fierce side to his playing. Impression is of a power metal instrumental.
“Beyond The Valley” also starts calmly as acoustic guitar again leads the way. Unlike its predecessor, however, “Beyond The Valley” maintains the tranquil demeanor its length, with a Latin flair emboldening albums strongest melody and choral like keyboards pointing to the classical. This is one of several songs to demonstrate there is more to Pike’s abilities than guitar shred.
Likewise, “Ode To The King” with its mid-paced demeanor to see passionate but stately harmonies command in upholding another melodic scene. A more rock stance as opposed to metal reveals in the process, noting the bluesy underpinnings (as found in the emotional soloing covering the final minute) and lithesome low end throughout. Song reminds me somewhat of Fourth Estate.
“G.P.S.” (standing for Gaines/Pike/Station), returns to a heavier shred directed heading. True to form, blinding harmonies and equally far-reaching lead guitar command, as does an underlining silky smoothness rooted in an immaculate aesthetic. Pike cuts loose with a classical side to his soloing abilities as song reaches its end.
“Orion”, a short (two minute) but nimbly done open-air acoustic instrumental, gives way to closer “The Journey Home”. It picks up pace to a more forward direction, darker with its earnest riff signatures but also stark in terms of the interweaving double kick drum to build upon the enterprising tendencies. Again, I appreciate how eighties shred tendencies combine with underlining power metal elements
Heavenly Realms equates to a very ably done instrumental hard rock album I see appealing to those into any of the artists referenced throughout the review. I take to the variances accordingly, ranging from metal shred leanings to calmer moments of an acoustic nature and all things in between. Artist proves himself a well-rounded musician in this regards, as do talented cohorts Tim Gaines and Arnaud Krakowka. Lone complaint is that I wish the album were a bit longer in that it is on the abbreviated side at just over 30 minutes. Still, you can do no wrong with Heavenly Realms far as instrumental rock is concerned.
Review by Andrew Rockwell
Track Listing: “Atomic Dragon” (3:49), “Heavenly Shred” (3:28), “The Landing” (2:02), “Future World” (3:33), “Beyond The Valley” (3:30) “Ode To The King” (4:36), “G.P.S.” (4:00), “Orion” (1:54), “The Journey Home” (3:19)
Musicians
Kevin Pike - Lead & Rhythm Guitar
Time Gaines - Bass
Arnaud Krakowka - Drums
