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Every once in a long while, a record comes
out that just knocks you on your ass from the first notes
and won't let you up 'til you're battered, bruised and exhausted
by the relentless, meticulous assault infiltrating and annihilating
your senses. It has, indeed, been some time since I had
an ass-kicking like the one so generously administered by
ARK's sophomore effort, Burn The Sun.
On this follow-up to their eponymous 1999 debut, guitarist
Tore Ostby (Conception), drummer John Macaluso (TNT, Yngwie)
and lead vocalist par excellence Jorn Lande (The Snakes,
Millennium) have added the big-gun talents of Randy Coven
(Steve Vai, Steve Morse) on bass and longtime Yngwie Malmsteen
keyboardist Mats Olausson to their already formidable attack.
The result is an absolutely amazing display of ensemble
musicianship, vocal virtuosity and most importantly, songcraft
- the all-too-often missing link for an ever-growing number
of prog-metal bands the world over. ARK has achieved what
so many others have failed to do. While the glut of recent
prog-metal releases features many schooled musical technicians,
most of the songs lack the emotional depth required to connect
with a listener and remain memorable. To the contrary, Burn
The Sun is the perfect marriage of shred abandon and
catchy, meaningful songs.
Produced by Tommy Newton (best known for his work with
Helloween), the disc opens with Macaluso firing a flurry
of warning shots before the rest of the band joins the fray
for "Heal the Waters." Lande immediately rips
into the lyrics with a gruff, melodic power that puts him
in a class with Dio, Dickinson and Tony Martin. Yes, he's
that good, kids! He seems to have shed his penchant for
simply aping David Coverdale and found a style of his own
that occasionally tips a hat to the rock vocal elite. As
heavy as this tune is, practically every line that's sung
is a killer hook, but good luck trying to sing along without
half killing yourself in the process! Lyrically, this song
introduces an optimistic, pre-apocalyptic theme that is
brave and inspiring without becoming cliché. This
theme is elaborated on throughout the record on songs such
as the completely original "Torn." Anyone who
thinks invention in rock music is extinct is cordially invited
to fire this monster up at extreme volume! The chorus to
this track will stick in your head hours after you finally
manage to turn off your CD player. (Ya gotta sleep sooner
or later!). Macaluso and Coven make a perfect pair as they
simultaneously anchor the song while spewing obscene flurries
of odd-meter fills. That is the genius of this record; the
band unleashes the shred at precisely the right times, so
as not to ruin the melodies and song structure. Ostby, in
particular, shows a very tasteful restraint throughout the
album, making it all the more gratifying when he does unload.
The title track is next and is more of a straightforward
metal tune. Lande sings the verses in a low-register snarl
that belies (or perhaps demonstrates) the extent of his
range. By the song's end, he is cutting loose with the kind
of controlled abandon so many singers lack the talent to
employ. "Resurrection" exemplifies the direct
connection between having a great singer and touching the
listener on an emotional level. This is a giant nose thumbing
to the endless array of One-Note Charlies sailing today's
mainstream! Halfway through this heaviest of all love songs,
the tempo abruptly changes, leading to an awesome bit of
soloing from Ostby before veering back to the original melody
and finishing up with an off-the-rails barrage that is the
only piece of true excess on the record.
Another unique melody graces "Absolute Zero,"
with Lande adopting an ethereal tone not unlike Physical
Graffiti-era Robert Plant at times. Ostby's rhythm playing
is powerful and when combined with the brutal Maiden-on-steroids
bass/drum gallop, is truly impressive. (Don't let the band
references throw you, though - this is some of the most
original heavy rock I've heard in eons).
"Just a Little" features some breathtaking Spanish
guitar with bass and drum syncopation reminiscent of Al
DiMeola in his speed-picking prime, as well as some cool
Hammond organ from Olausson. With its Latin feel and hyper-catchy
hooks, I could see this being a hit if radio wasn't controlled
by castrated wussies searching dusk 'til dawn for the next
big, disposable thing. Then again, given the general public's
severe allergy to anything that rocks, it would probably
fill emergency rooms around the globe with hive-ridden,
guitar-phobic candyasses.
A heartfelt plea to the screwed-up world at large is the
basis of "Waking Hour," a piece of pure power
metal excellence with yet another jaw-dropping performance
from Jorn Lande: "Sing a song for the broken ones and
our faith will reappear/ 'Cause there's power in the melody,
power enough for changes/ If God is here, His tears are
falling now/ Pouring from the ceiling of the sky …It's
time to awaken - it's Waking Hour/ A new day is breaking
- the future's now/ It's here and then it's gone…Wake
up!" If this little chunk of melodic mayhem doesn't
wake your ass up, you're already dead, my friend!
The band refuses to let up as they tear into "Noose,"
a progressive hurricane that showcases the band's affinity
for complex time signatures and runaway train rhythmic excursions.
Macaluso and Coven are all over it and are soon joined by
Ostby and Olausson for a dazzling instrumental break that
rivals the lofty Dream Theater for sheer musical finesse.
"Feed The Fire" begins as an uptempo rocker sounding
briefly like The Police meet Rush (No, really…it's
very cool!), then takes a turn toward heartbreak and longing
that anyone who has ever lost in love can certainly relate
to. When Lande sobs, "It's love that feeds the fire/
In for desire, I dive endlessly/ And I can't stop believing
someday she'll be mine," it is virtually impossible
not to feel his anguish. This is the type of song that kind
of sucker punches your heart, leaving you with visions of
the one that got away while you masochistically hit the
"back" button to feel the glorious hurt one more
time…but perhaps I've said too much.
The Coverdale influence returns in "Bleed," a
rocker in a classic vein that allows Ostby to show his stuff
on guitar. No new ground broken here, just a solid heavy
rock song with a cool Middle Eastern melody line.
The next track is an anomaly in the form of a nine-minute
progressive power-ballad! "Missing You" may be
the quickest nine minutes in the history of music as not
a second is wasted or excessive. Olausson embellishes this
song with some beautiful, orchestral keyboards as the music
comes to a slow boil, showcasing the band's ability to create
brilliantly cinematic arrangements that reach into the deep
places, like all great music. At one point, it becomes almost
like an Italian opera with Lande just dumping his guts out
so honestly, it's astonishing!
Already causing a major buzz throughout Europe and Japan,
this CD should be hitting US shelves soon, so do your shred-loving
self a favor and buy it and rejoice, for Rock has a mighty
new herald! While it may be a bit early to start spouting
Record of the Year superlatives, let me just say that I
can't wait to hear the disc that outdoes this near-perfect
modern masterpiece! In a word: unfuckingreal!
Shredpick: Close your eyes and point!
Reviewed by Chris
Yancik
Visit ARK's website at www.arksite.com.
Order
ARK - Burn The Sun (Japanese version) from
(This review will be updated with information
regarding the U.S. release as soon as we get it. -Editor)
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