| Musical Style: Progressive Hard Rock | Produced By: Gary Wehrkamp |
| Record Label: Inside Out | Country Of Origin: USA |
| Year Released: 2005 | Artist Website: |
| Tracks: 14 | Rating: 95% |
| Running Time: 75:34 |
Shadow Gallery first appeared when it signed with Magna Carta Records for the 1991 release of its eponymous debut full length, but it was third album Tyranny from 1998, recorded in follow up to 1995 sophomore effort Carved In Stone, that staked the groups place in progressive metal history. Indeed, Tyranny is widely revered by fans and critics alike in commonly ranking it among the categories best, with Angelic Warlord getting in on the act and placing it sixth in an article we wrote outlining what (in our opinion) are the top 50 metal and hard rock albums of the nineties. It is also highly regarded as a concept album with deep political themes based around government conspiracies, the nature of war and the military-industrial complex.
No, Shadow Gallery is not a Christian band, but the group’s website from several years ago specified that many of its members are believers in the Christian faith. Liner notes to Shadow Gallery fifth album from 2005, Room V, even quote bassist Carl Cadden-James as pinpointing the Holy Bible as a source of inspiration and information. Recorded in follow up to fourth Shadow Gallery album Legacy released in 2001, Room V also draws upon conceptual themes in picking up the narrative from Tyranny in breaking down between Act III and Act IV, with Act I and Act II have played out on Tyranny.
Shadow Gallery reviewers commonly offer progressive metal contemporaries Dream Theater as a point of reference, and while the comparison is not without merit, I find there is much more to the group than just ‘metal’. No doubt, Shadow Gallery can be heavy and use of any metal label is not inaccurate, but I identify with Room V (not to mention Tyranny) more as progressive rock with a heavier edge as opposed to metal. Perhaps better yet it might be more precise to meet in the middle and use the ‘progressive hard rock’ designator instead.
Regardless of classification, one cannot deny the song orientated and accessible (not to mention complex and richly orchestrated) approach of Shadow Gallery to the progressive genre. Therein also lays the problem in that reviewers also lament how Room V is a bit heavy in the ballad department. I digress in that beyond the fact the complex emotions behind the story to any conceptual work potentially invite a ballad heavy approach, in my opinion nobody (and I mean nobody!) composes a better ballad than Shadow Gallery.
Act III opens to instrumental “Manhunt”, two minutes of accelerated riffs and brisk soloing, before moving on to one such ballad in the seven minute “Comfort Me”. This one sets the tone for the affection to follow, as piano and acoustic guitar interweave with recurring staunch rhythm guitars to expand upon the graceful melody at hand. Similar to Tyranny track “Spoken Words”, classic tenor classic tenor front man Mike Baker (R.I.P) forms a moving duet with raspy female vocalist Laura Jaeger.
“The Andromeda Strain” ensues in revealing the heavier Shadow Gallery side. Also seven minutes, it cuts in at once to the punchy guitar riffs to set the front to back single-minded tone but also does not forsake melody as found in the group’s elegant vocal harmonies (some of the best in the business). “Vow” follows but as a return to ballad territory, sustaining the wistful bearing as fluid guitars with a bluesy hint cover the amicable verse sections and emphatic rhythm guitars the mega-catchy refrain (of a near commercial bent). Former features an awesome mid-point instrumental jam and latter lyrics hinting of Christian imagery:
I’ve been purchased with blood
The spirit found its way in
And it changed my whole life
I’m offering you my hope
With the gift of this light
Subsequent two cuts are instrumental, beginning with “Birth Of A Daughter”, starting to airy keyboards but gradually building until hard rocking guitars cut in and take things forward in expedition fashion, but also including “Death Of A Mother”, opening to symphonic keyboards but maintaining the rollicking edge as Hammond B3 plays a forward role. Closing Act III is “Lamentia” to a minute of piano based around a lone verse drawing upon the melody to “Comfort Me”.
Act IV opens to a pair of instrumentals, with “Seven Years” starting slowly to acoustic guitar and woodwinds only to gradually build impetus in giving way to bluesy guitars and “Dark” drifting to an ominous joining of keyboards and bass.
“Torn”, first of five songs in excess of seven minutes to close the album, is another choice ballad. It takes a heavier form, as forward guitars resonate throughout in lushly entwining with piano, another off the charts melody and Baker’s silky smooth vocal delivery (lets face facts: his emotional approach plays a decided role in making the ballads work). Another lengthy instrumental run highlights the guitar work of Brendt Allman and Gary Wehrkamp. Again, more Christian imagery lyrically:
And what do you do with faith and belief
when tragedy buries me...buries me...buries me alive?
Hold your hands up high
Lift them toward the sky
When all I have is torn down, down, down
Meet my pain tonight
Back to progressive metal with scorcher “The Archer Of Ben Salem”. Song breaks down between two parts, with first a duet between Baker and Cadden-James (playing the role of ‘the Archer’ with his gritty voice) above a bedrock of buffeting riffs and accenting organ, and second an instrumental swiftly borne by sinewy guitars and airy keyboards. Melodic semi-ballad ”Encrypted” trails in calmly drifting its span between whimsical moments of a reticent and delicate nature and others to see unabashed guitars step forward edgy and firm. Closing instrumental run decelerates to an extended stretch of bluesy lead guitar.
Albums hard rocking title track is first of two closing cuts. “Room V” kicks in intent and focused as locked in place guitars and anchored low-end plow vigorously, but it is the group’s lavish vocal melodies that again provide the abundant emphasis (melody is such you will be challenged to keep it from your head). Final five-minute instrumental run is jaw dropping. “Rain” flows in melodic metal fashion, opening its first minute to magnificent guitar harmonies that transition to a slower tempo to see delicate keyboards and smoothly flowing (and significantly catchy) refrain holding sway. Subtle hints of faith manifest lyrically:
I light two candles in the window of my mind
The wind that threatens I've no words left to describe
Resisting the fates
when mercy comes to shelter me
Over and over I am witness to the signs
Evil's more focused as we near the end of times
Praying so hard that your shelter comes to cover me
Many reviewers favorably laud Room V, albeit rating it a notch below Tyranny. Little doubt remains how Tyranny is an exceptional release, but I also cannot help but place Room V in equal position when factoring its melodic based songwriting and how it takes the progressive elements to the next level in showcasing the abundant Shadow Gallery instrumental sound. Regardless, you cannot go wrong either way with Tyranny or Room V. Since both base around the same conceptual storyline, my advice would be to get both!
Review by: Andrew Rockwell
Track Listing: "Manhunt" (2:07), "Comfort Me" (6:49), "The Andromeda Strain" (6:44), "Vow" (8:25), "Birth Of A Daughter" (2:38), "Death Of A Mother" (2:13), "Lamentia" (1:02), "Seven Years" (3:35), "Dark" (1:01), "Torn" (8:21), "The Archer Of Ben Salem" (7:26), "Encrypted" (7:59), "Room V" (7:42), "Rain" (8:59)
Musicians
Mike Baker - Lead Vocals
Brendt Allman - Guitars & Bass
Gary Wehrkamp - Guitars, Keyboards, Bass & Violins
Carl Cadden-James - Bass, Flute & Vocals
Joe Nevolo - Drums
Guest Musicians
Laura Jaeger - Vocals
Arjen Lucassen - Guitars
Joe Stone = Guitars
