| Musical Style: Metal/Hard Rock | Produced By: |
| Record Label: Independent | Country Of Origin: USA & New Zealand |
| Year Released: 2019 | Artist Website: The World Will Burn |
| Tracks: 14 | Rating: 90% |
| Running Time: |
The World Will Burn remain a world-class leader when it comes to a metal and hard rock inclination within a modern framework, not to mention the periodic leaning towards outside the box inventiveness. A multination duo of guitarist Alan Zaring, making Shelbyville, Kentucky his home, and vocalist Dale Thompson, out of Auckland, New Zealand, The World Will Burn remotely create music that ‘transcends culture, language, and genres while focusing on emotion and passion rather than commercial success’. Hence, its independent 2016 debut Severity to mirror an ‘expansive and rumbling modern to grungy to straightforward hard rock sound’ (noting the 85% Angelic Warlord review) and 2017 Retroactive Records sophomore effort RuiNation to build upon similar musical themes ‘with a sound both current and that remains true to the past at the same time’ (also 85%).
Returning in late 2019 with its third full length Nothing’s As Real As It Seems, The World Will Burn stays true to the modern meets hard rock formula of its first two efforts but better in taking several key areas to the next level. First, the album is heavier in comparison, particularly in light of how guitars now approach if not exceed all out metal, not that Severity and RuiNation in any way were watered down. Second, bigger hooks and melodies present to the extent Nothing’s As Real As It Seems includes many of my favorite The World Will Burn songs, reinforcing how the groups initial offerings were by no means predictable.
Ultimately, The World Will Burn experiments on Nothing’s As Real As It Seems by expanding upon its sound and embracing light progressive facets and even hints of industrial and Gothic rock. Rolled into one, it is difficult to label or pigeonhole the group from the inventive nature to its music, or at the very least, the manner in which it explores musical territory fans of today’s hard music climate might always not be the most acquainted.
Further separating Nothing’s As Real As It Seems is how it is the first The World Will Burn concept album, even if loosely so. In the words of Zaring, it deals with ‘the last days of Jesus, who takes our sin to hell and claims our victory, finishing our ‘song’. Hence, how many of its tracks deal with the subject of hell. A few spoken word pieces - and more on this in the track by track - present in order to break from the heaviness and emotion of the album as a whole.
Opening cut and lead off single “Sings & Tragedies” represents one of the albums heavier. It lambasts its span as menacing guitars bound in and out of the mix, defined by an animated disposition reaching for the provoked but equally accessible in terms of the punchy hooks exuding from its succinct refrain. Thompson further decorates the back end with his crazy screams and wails (in the most positive sense).
“Love & Life” is one of this reviewer’s choice tracks, the least of not which being how it introduces the newfound progressive side to The World Will Burn. First minute is carried in offbeat instrumental fashion to bluesy lead guitar (courtesy of guest guitarist Tim Bushong of Lovewar) prior to it gradually building momentum until bursting forth in hard rock fashion. An aggregate of styles take over moving ahead, with moments ranging from commanding and projected filled (to feature an unrelenting intensity) and others tranquil in stopping on a dime as breathing bass holds sway. I am somewhat reminded of Silence Is Madness era Bride.
“No One Believes In Hell”, truncated at just under three minutes, come across as an extension to “Love & Life” (the two suggest of flowing together as one long song). It starts chill and somber in mournfully plodding forward - speaking of the Gothic in the process - only to elevate in time for guitars to succor the melancholic refrain. The World Will Burn perfectly lend towards such darker musical environs.
Three songs in and it cannot be denied Thompson’s powerful vocal performance, upholding his signature gritty and raspy blues based style but surprisingly smoothing out in also taking a somewhat Bowie influenced approach in places (in similar fashion as Jimmy P. Brown during mid to latter era Deliverance).
“Rainbow’s End” (not a Rez Band cover) is another favorite. The song is so catchy - those as noted bigger hooks and melodies stand out on this one – but elevates equally to Zaring’s animated bass line and harsh backing vocals with an industrial edge to continually repeat the phrase ‘to burn or not to burn’. Guest guitarist and brother Troy Thompson helps provide for a bluesy edge. Atmospheric, modern but with metal-laced intensity is the impression at hand.
“Love Fills All Things” also touches upon the progressive with its two-part approach. First covers the opening minute to a keyboard solo prior to sluggishly trudging ahead as a faith based statement reveals: ‘God is ever present, He is never absent. He is the consuming fire’. Driving guitars cut in moving forward to elevate tempo exponentially, an assailing mentality prevailing, noting the mesmerizing riff action, but not forsaking melody all the same, refrain mirrors the haunting and disconsolate. Note how Thompson unveils the full range to his voice, from aggressive and forward to even and stilly done.
“No One Sings” provides a bluesy to modern essence not unlike The Jesus Experience era Bride. Offbeat keyboards at the start give way to the plodding mid-paced clip to carry the songs distance, with a hard rock ardor as opposed to metal prevailing while son Aaron Bushong commands the staunch scene with his larger than life timekeeping.
Back to varied territory with “Listen For The Symphony”. With gentle overtures and somber vocals to start, it plunders ahead as guitars power in and out of the mix in joining moments both brazen and explosive (authoritative refrain emanates understated catchiness) and those on the tempered side (layered harmonies further build upon the notable melody). Am I out of line to suggest an element of rollicking low-end Led Zeppelin style groove?
“All Hell Is Breaking Loose” jump starts in upbeat fashion and maintains the vigor its length. Heavy-set drums lay the enterprising backbone and victorious drums touch upon the anthem like, with the gist an almost eighties melodic hard rock essence prevailing but exuding the signature The World Will Burn modern layering. Catchy hooks stand out accordingly- I find it a challenge to keep this one out of my head!
Narration based song “Boxing Ring” ensues. Of all the albums tracks it is the most outside the box with its quirky bass line, horn section and crackly old voice, with message ranging from paradox to inconsistency to conflict but perfectly summarized in the end: ‘We are children of God, we are covered by the Blood’. No, not one of my favorites but not a skip button either from how such unexpected musical direction is not unexpected from The World Will Burn. Have Stryper record it for its next album, however, and people might be scratching their heads…
Which leads to the lone problem at hand, in that perhaps the group might have dipped into the narration well one too many times with closing track “Lead Balloon”. It has more of a song based feel with its opening verse and lounge style keyboards, but two narration tracks on a 12 song album is potentially one too many, at least my opinion.
In between are two first class The World Will Burn vocal tracks. “It’s The Hallelujah” presents with its variations, at times pensive and brusque in slowly drifting through a dreamy landscape but also erupting at moments notice to a fury of incensed guitars and impassioned vocals to impress of the curtly driven. “New Creation Man” opens to distorted narration from “Amazing Grace” - ‘I once was lost but now I’m found’ – prior to taking on a laid back and easy going (almost jazzy) form with a funky low end groove and as catchy a symphonic based chorus you will hear. Either way, it is a strong manner in which to close things.
Those purchasing the album at the bands website, however, receive three instrumental bonus tracks. “New Life” gives rise to a cinematic feel with its orchestration, atmospheric keyboards and angelic choirs, while minute and a half long “Frantic” is home to a cacophony of off kilter vocals and melodies and darker overtures. Final of the three is “What Is Real” with its oriental instrumentation, layered harmonizing and woodwinds.
It would be safe to suggest Nothings Real As It Seems is best of the three The World Will Burn albums, reinforcing the quality to its two predecessors to each garner 85% reviews. Overall, I feel The World Will Burn takes to the next level not just quality to songwriting, heaviness and production values, but it also expands upon its ‘metal to modern’ tinctures by touching upon an understated progressiveness. Of course, Alan Zaring and Dale Thompson maintain their respective high level of performances, with guest guitarists Tim Bushong and Troy Thompson not to mention timekeeper Aaron Bushong making strong musical statements as well. In the end, if a fan of The World Will Burn then Nothing’s Real As It Seems is a necessary purchase; and for those not familiar with the group, it is a good place to start (my advise would be to get all three albums!).
Review by Andrew Rockwell
Track Listing: “Sins & Tragedies”, “Love & Life”, “No One Believes In Hell”, “Rainbow’s End”, “Love Fills All Things”, “No One Sings’, “Listen For The Symphony”, “All Hell Is Breaking Loose”, “Boxing Ring”, “It’s The Hallelujah”, “New Creation Man”, “Lead Balloon”, “New Life”, “Frantic”, “What Is Real”
Musicians
Dale Thompson - Lead Vocals
Alan Zaring - Guitars, Bass & Keyboards
Additional Musicians
Tim Bushong - Guitars
Troy Thompson - Guitars
Aaron Bushong - Drums
