The Rule of Right

The power metal revivalist era of the late 90s to early 2000s was one in pretty much every sense of the word. There was new ground covered in the idea of merging the more extreme speed metal characteristics of early USPM bands such as Agent Steel and Helstar along with the orthodoxy of earlier modes of traditional metal. But for the most part, the era was underscored by rediscovery more so than innovation, as Kelly Simonz’s Blind Faith showcases in its full adherents to the Neo-Baroque clichés of Yngwie Malmsteen and Joe Stump. But for all of its scorn for needless innovation, 3rd and latest effort “The Rule Of Right” gets the job done in the quality department, which is where it really counts.

At this point, much like the Swedish outfit Winterlong, Blind Faith has become a one man show rather than a traditional band. Simonz even takes on vocal duties, in which he does a rather impressive job, sounding somewhere between a smooth Goran Edman or a really smooth Joe Lynn Turner. The result of this combined efforts of one multi-instrumentalist is well within the confines of early Malmsteen dogma, listening like a satisfying blend of the keyboard tinged and heavily 80s infused “Trilogy” and the rough and sleazy “The Seventh Sign”. There is a disproportionate amount of instrumental work on here as well that fits with the outfit’s situation at this point, but Simonz has a keen sense of melody that keeps them all from falling into the exercise in sameness that tends to wander into Yngwie’s shred happy works.

It can’t be stated enough that this is not a band taking influence from Malmsteen, but one that is outright paying homage to him. Unlike Rhapsody Of Fire, Magic Kingdom or Symphony X which showcase an individualistic style that takes into account progressive or symphonic ideas largely absent from Yngwie’s playbook, this essentially tries to write in a missing chapter of his back catalog somewhere between 1985 and 1994. A single listening to the flowing streams of arpeggio sweeps on the Neo-classically tinged speed song “Destiny”, or the down tempo and theatrically tinged “Till The End Of Time” will confirm a ruggedly traditionalist approach at play. But in spite of all the shameless clichés, including a rather cheesy rendition of Latin classical music in a form probably heard on one of Quentin Tarantino’s films in “Desperado”, things stay entertaining.

Of all 3 works put out under Kelly Simonz’s name, this one is the most readily available and the best representation of his prowess as a musician. It might be a little much to assert that he is the heir to Malmsteen’s throne, if for no other reason than that the mad Swedish shredder is still pounding out classics every couple years, but Simonz is closer to that title from a stylistic standpoint than most of the others out there who have had that honor attributed to them. It’s an exceptional album from a somewhat crowded field, and definitely a worthy investment if Bach and Vivaldi are on a person’s non-metal collection list.

Originally submitted to (www.metal-observer.com) on November 24, 2010.

The first thing one will notice by listening to Kelly Simonz is that the guy is a lot into the neo-classical genre. Comparisions with Yngwie Malmsteen are almost innevitable but that will be unfair in many ways.

Unlike other guitar players(including Malmsteen) Simonz doesn´t have the desperate need to show how much riffs he can cram at the same time. He has a very strong sense of composition, of what a melody is and should sound. There are no waste of time in pretentious soloing, every solo has its place.

Simonz compose, arrange, write and sings all his songs and he does everything right. His voice isn´t nothing out of this world, he just delivers each word in a straight manner, no screaming or anything like that.
The album develops from fast songs to some ballads, the guitar is of course the center point but the other instruments aren´t wasted or just filling the background; everything fits in the right place.

Of course this isn´t something that will change or innovate the whole genre, but is a highly enjoyable material even if your not a fan of the genre. There will be at least 2 or 3 songs that will hook you, especially tracks like Till the end of Time, Destiny, Dancing on the Edge and others.

Highly recommendable.