| Musical Style: Epic Metal | Produced By: Giles Lavery & Jimmy Waldo |
| Record Label: HR Records | Country Of Origin: USA |
| Year Released: 2024 | Artist Website: Warlord |
| Tracks: 10 | Rating: 90% |
| Running Time: 56:29 |
After waiting two decades for a new Warlord album, noting debut EP Deliver Us and full length follow up effort And The Cannons Of Destruction Have Begun from 1983 and 1984, respectively, the Joacim Cans (HammerFall) fronted Rising Out Of The Ashes arrivedin 2002 via Athreia Records. Another extended hiatus ensued until 2013 and the Sons Of A Dream Music LLC released The Holy Empire, which featured former vocalist Richard Anderson, whom gained initial renown for his mid-eighties demo work with Warlord. Finally, Warlord returned after another 11 years in May of 2024 on High Roller Records with new vocalist Giles Lavery (Dragonsclaw) and fourth full-length album Free Spirit Soar. Actually, labeling Lavery as ‘new’ might be a misnomer in that he was introduced to Warlord fans from fronting The Holy Empire track “Kill Zone”.
Free Spirit Soar finds Lavery along with drummer Mark Zonder, keyboardist Jim Waldo, bassist Phillip Bynoe and guitarist Eric Juris paying tribute to the musical heritage of William Tsamis, founding member and guitarist who sadly passed away on May 13, 2021. Album includes two re-recorded songs from Tsamis’ side project Lordian Guard - and follows a Warlord tradition when noting Rising Out Of The Ashes and The Holy Empire also include previously recorded Lordian Guard material - in addition to eight Warlord instrumental demos re-imagined with Lavery on vocals. According to Lavery, the group utilized Tsamis’ guitar tracks from the original demo recordings when they could, but otherwise Juris did much of the heavy lifting from a guitar standpoint. He sums things up best (from the groups press material): ‘It was a bit of an uncharted adventure delving into Bill’s demos and unfinished music, and also having to write lyrics and vocal melodies to the songs’ but overall is ‘very satisfied with how Free Spirit Soar turned out’.
Speaking of which, Warlord might not be a Christian band, albeit lyrics to the two re-recorded Lordian Guard tracks leave little doubt as to Tsamis’ faith. Albums remaining songs lyrically - mostly written by Lavery but with contributions from Jon Wilde and Steve Blaze - stay true to the Warlord aesthetic with a tale-telling approach by focusing on history, mythology, current events and spiritual themes from a positive standpoint.
Music also stays true to the Warlord epic metal aesthetic. Epic metal might be an open-ended statement depending on band and era, but as it applies to Warlord encompasses intricate song structuring that combines equal parts resounding melody and dark overtures touching upon a progressive basis. Yet, a classical almost medieval side to Warlord reveals in the form of orchestral and choral parts mixed with cinematic overtures.
Hence, albums opening track and first of the two re-recorded Lordian Guard pieces, “Behold A Pale Horse”. A seamless eight minutes beginning to rolling drums and threatening guitars, song revels in the technically precise with complex melodies and exact harmonies - a two and half minute instrumental break runs the gamut from intense harmonizing to atmospheric keyboards - but culminates for a gallant refrain repeatedly chanted in imperial fashion. Lavery stands out with his mid-ranged to darker lower register vocal qualities. Lyrics prove self-explanatory:
Come and see, the end of man
The prophets they have spoken
Now the Judgment Day is now at hand
In the blood of the night
His spectre rides the moon
His holy sword in hand
The fear of God unleashed in the land
Second Lordian Guard piece “Revelation XIX” closes the album. It proves regal and grandiose at seven and half minutes, beginning to keyboards that lead the way through the medieval hued instrumental two-minute opening. A militant spiritual warfare anthem impresses moving forward, heroically tinged with a strong melody bordering on the worshipful but emanating of distinguished rhythm guitar of equal stouthearted form. Imperious keyboards and classical guitar dominate instrumentally. Again, lyrics are self-explanatory:
The mighty men of war besiege Jerusalem
The city of our God is left alone
But the nation of Israel will cry out for Messiah
And Christ the King will raise his holy sword
For Christ is the light of the world
And Christ is the life and the way
King of kings and the lord of the universe
We will praise, we will praise
Of albums eight remaining tracks, “The Rider” is a shorter (four and half minute) up-tempo piece. It emanates of the pristine and polished, innate to an almost AOR feel found in glorious vocal melodies and dazzling guitar harmonies, but not backing from the entrenched Warlord heaviness, rhythm guitar bites in power metal fashion. Impression is of The Holy Empire song “Glory”.
“Conquerors” also hints of power metal, albeit imbued with the signature Warlord sense for the epic. It proves one of albums fastest and most upbeat, expeditious rhythm section of Bynoe and Zonder set the tone in this regard, but also catchiest, another medieval tinctured melody plays an engrossing role. I detect a hint of Theocracy on this one.
“Worms Of The Earth” decelerates to the ploddingly doom like but within an epic metal framework. Chanted vocals with a Gregorian feel to start ensued by stilly done guitar, with a portent framework established trudging ahead as the dire elements shift to the dramatic harmonies that imbue the legendary sing along refrain. Melody is enchanting as it gets. Instrumentally, what sounds like hammer on driven soloing gives way to thrash like guitars (Free Spirit Soar feels somewhat heavier compared to The Holy Empire). Lyric snippet:
You came here after our time
You were an honest man
Not heading the warning that
We tried to send you
Now they are the rulers of this world
That we used to know
With nowhere left to run,
We seek refuge far below
One of albums shortest at just under four minutes, “The Watchman identifies as melodically driven essential to prestigious harmonies and distinguished melodies pointing to a bouncing if not blithe form. Despite the song trending the lighter side, Lavery lowers his register and takes a tougher and more jarring stance. Keyboards and classical guitar hold sway instrumentally.
Albums ensuing title track opens its first minute and half instrumentally as pensive keyboards give way to a galloping jaunt. “Free Spirit Soar” proceeds to labor gradually through its solemn verse sections only to break out at once for a gladsome refrain imparting of the emboldening. Zonder builds upon the uplifting epic power metal feel with his on point timekeeping. Lyric snippet:
In my days of youth,
Is when I heard the call
To follow a path not taken,
Not paved by those before.
And through the storms of life,
I learnt that road is long
Right at that moment,
I heard your mighty song
A darker, slogging metal approach resonates on “The Bell Tolls”. Not quite doom but menacing all the same, song plods with a swarthy feel as low-end bleeds corpulent bass and guitars fragment to reinforce further the striking melody. Still, the signature Warlord epic side reveals in the form of the lofty if not chivalrous presence to preside. Credit the group for manner in which it makes instrumental demos and seamlessly transitions them to vocal cuts.
“Alarm” takes a militant metal approach. The angelic choral vocals and open air guitar to start shift to the unflinching, with armored verse sections covered by spoken word vocals and assailing refrain berating guitars to ascertain some of albums heavier moments. Interestingly, keyboards highlight a harpsichord like feel, particularly for the instrumental interlude.
“Twin” builds upon the Warlord progressive side. Time signatures prevail its distance, ranging from the meticulous harmonies covering the opening instrumental minute to steeping church organ that succeeds for passages in which cascading rhythm guitar gushes in hard headed fashion. Further intricacy reveals in the multifaceted instrumental run closing the final two minutes. Lyric snippet:
Forgive us our sins now,
For we know not what we do
We're seeking the answers,
But hiding from the truth
Bearing false witness,
And praising false names
Yet demanding you show yourself
And lift our veil of pain
Free Spirit Soar does an excellent job carrying on the Warlord epic metal tradition. Musically, it stays true to the Warlord aesthetic with technically intricate and classically influenced songwriting alongside story telling lyrical acumen. Eric Juris puts in a choice performance filling some very big shoes of the late William Tsamis, with musicianship and vocals otherwise up to the Warlord standard. Likewise, I cannot help but feel the group’s interpretation of the Lordian Guard and Warlord instrumental demo material does Tsamis proud. If a fan of Warlord or any form of epic, power or classic metal then I encourage making Free Spirit Soar a priority purchase.
Review by Andrew Rockwell
Track Listing: “Behold A Pale Horse (7:49), “The Rider” (4:25), “Conquerors” (5:18), “Worms Of The Earth” (5:46), “The Watchman” (3:43), “Free Spirit Soar” (5:57), “The Bell Tolls” (4:37), “Alarm” (5:50), “Twin” (5:35), “Revelation XIX” (7:26)
Musicians
Gales Lavery - Lead Vocals
Eric Juris - Guitars
Phillip Bynoe - Bass
Jimmy Waldo - Keyboards
Mark Zonder - Drums
