Be Gone

What drew me in, personally, was the cover art. The lush vegetation growing favorably with the classical stone structures adjoining the sea and sky paints a perfect, peaceful picture. The music itself flows naturally, without a care in the world while still following the same formula as before. The album isn’t as epic as the previous album, but it definitely has more substance than the debut. The atmosphere is more refreshing than before, and the production hasn’t changed much, but it’s still the Pharaoh I love at heart.

Aymar for the third time straight wails perfectly with that distinct, grainy voice of his. Most power metal vocalists are high in style, but Aymar truly gets the manly wail down. His dryness keeps the music more on the deep end, provided that the bass is doing its job properly. The Longest Night featured some fantastic grumbling, and here its much of the same, really. It adjusts itself to the atmosphere of the album, so it’s more noticeable than the debut, for sure. Bass follows the guitar riff, but that extra sandy layer makes the grumble worth the effort.

For the third time in a row, you have to give it up for Black, who still manages to play with smashing briskness while still not being able to bitch about having low drum bass mixing. Honestly, how can he just sit back there and go through all the trouble of annihilating on the drum bass when you can just barely hear it? If they don’t get this problem fixed by the next album, then I’ll complain to Aymar my goddamn self.

Guitars are especially cool in lead and rhythm departments - moreso than before, actually. There is a cool factor in effect where the guitars are like waves crashing against the earth ferociously, supreme over nature as it spits out catchy, innocent lead harmonies to hold your head up high. Once more, the general emission is much of the same heard on the previous albums, but there are twists in the atmosphere and tone that set them apart, sometimes reminding me of modern W.A.S.P. more than Maiden (like with “Buried At Sea”). The invigorating feeling is still there, particularly in the solos, but something about the guitars makes them more carefree this time around, which you’ll love in a different way than before.

So despite being a third outing with changes only on the rim, Pharaoh still manages to rack up something with character of its own. This band can’t stay within their comfort zone for too long, even though we know the trend has worked thus far. It’s the small subtleties that bring about the natural order of things, and this one’s the more organic of the trio. I’m used to these ones now, so let’s hope the band strikes home with a different kind of album soon enough!

Pharaoh is quite likely the best melodic metal band we've got in the States right now. In fact, if I've got any criticism of the band at all, it's that they are TOO melodic. TOO catchy. To the point where it's painful to realize there are musicians this good writing such riffs you'll never have a prayer of beating. It should be a crime! Okay, this is hardly a real criticism...Pharaoh rules, and after two great albums they have produced their third and best yet. While I haven't been a fan of Tim Aymar's vocal work in other bands (sorry Control Denied), he excels here.

Each of the nine tracks on the album is an instant classic, laden heavily with melodic textures and Aymar's resonating yet harsh vocal performance. The songs are distinctly modern and original, yet they also capture the elusive quality which made so many 80s US speed/thrash metal songs so great...surely this band channels the spirit of Fates Warning, Watchtower or Helstar in ways that so few really can. This is also the riffiest metal album heard all year, if it were simply a matter of who has the most good riffs, this would be my #1 choice. Matt Johnsen is writing some of the best melodic material in the world. This album floors pretty much anything out of the 'power metal' scene in Europe, and there are single songs on the album which are arguably better than the entire Dragonforce discography. That a spastic and shallow band like that gains worldwide recognition while Pharaoh lies in relative obscurity is a testament to how the standards of the 'metal' community have been lowered to blindly accept speed, popularity and empty technical prowess over song craft.

"Speak to Me" is the perfect opening track, as the drums and guitars phase in they create a foundation for Aymar's clarion call vocals, which have an edgy tone to them reminiscent of bands like Omen. "Dark New Life" is an immediate anthem which wears its glory on its sleeves before breaking down into some grittier power metal riffing, and it also has an amazing solo section. "No Remains" starts with a winding guitar melody to die for, followed by some of the most excellent charging rhythms on the album, and a monumental chorus. "Red Honor" starts with an even more technical and awesome riff, and then proceeds to get even BETTER with the next riff. "Buried At Sea" is perhaps the most morose track on the album, yet still adorned in the graceful and epic feel of the rest. We're not even close to done here...the leading riff of "Rats and Rope" is fucking stunningly awesome, and the way the vocals and verse guitars interact is gorgeous. "Cover Your Eyes and Pray" is the closest you'll have to a 'ballad' here, and it's not quite a ballad at all, but a slower paced, driving melodic number which once again reminds me of Omen or early Fates Warning. "Telepath" is the most instantly catchy of the tracks, and why shouldn't it be with that insanely catchy, sad and melodic verse. The final track is of course the slowly developing "Be Gone" which is hypnotic and intense with its flowing guitar work.

The lyrical concept to the album is the eventual eradication of humanity through our own stupid actions, but Pharaoh approach this with lyrical skill that amplifies the emotion of the music, such as:

"Time running or
The hollow houses blooming
Faith now a falsehood
The only god is sickness
Just one way
To starve alive another day
Dying fed
By harvesting the dead"

I can't find a single damned flaw here, the album is spotless. It's the type of classic people will hopefully be pointing to for the 'oughts' of the 21st century when making their future 'best of' lists. I know I will be. Few albums of this sort have come into existence since the Golden Age of 80s metal, and this is by far my favorite melodic/power/speed metal album of anno 2008. You owe it to yourself not to let it pass you by. Pharaoh, against all odds, have achieved perfection. A masterpiece. Get infected.

-autothrall
http://www.fromthedustreturned.com

Pharaoh have been a sterling new force in the Metal underground for a few years now, with their sophomore effort The Longest Night being a stirring, kicking and biting Heavy Metal ass kicker with teeth and claws to boot, but I don't think anyone expected what was brewing in the underbelly of the United States for the last two years to surface with such a bang. I don't think anyone could have foreseen the sheer magnitude and weight of what was about to come upon us in 2008. But it did come, a massive and deep-rooted behemoth, owing half of its stunning repertoire of musical accomplishment to Iron Maiden and their voyages in the early 80s, and the other half to a more fine-tuned and artistic style, with the blend between them being one of staggering power. It was titled Be Gone, and it would no doubt take the crown for the 2008 Album of the Year.

This album is just really, really good, there's no other way about it. It doesn't really make any sort of artistic statement, and it doesn't attempt to do anything shocking or revolutionary, it just takes the wide vocabulary of the Heavy Metal genre and bends it a bit with some really stellar melodies and out-of-this-world song construction abilities to make old ideas sound new and fresh again when executed in a new and fresh manner. Just listen to "Buried at Sea," one of the very best songs of 2008, with its watery, ominous theme melody, and tell me you don't fall in love right there. No other Heavy Metal band has done anything this cool in ages, especially with how it runs through the powerful, slamming riffs to the end, where a light humming is overlaid on top of it to create a serene sort of feel, like you're sitting out on the open sea on a wooden log raft, watching the sun go down. Just a really, really stellar song, and it is still only one of the good songs here. The album also packs killer songs like the opening pulsations of "Speak to Me," the cut-throat, fiery stomp "Dark New Life," the majestic, spirited romp of "Red Honor," the awesome, jettisoning ride of "Telepath" and the eerie, shimmering melodies of the closing title track.

Tim Aymar's vocals have morphed into a rough, tuneful sort of howl, and I like the fact that he doesn't really sound like anybody else. Too many vocalists these days just want to take leaves from the Rob Rock school or the Rob Halford school, or hell, even the Rob Lowe school, if I'm going to continue naming Robs, but Tim can hold his own with any of the best in the business with ease. Chris Black and Chris Kerns make up the rhythm section, kicking out a vital and energetic set of drum and bass runs that keep the energy level high at all times, with the drums sticking out as exceptionally catchy and pummeling on the speed romp "No Remains." Guitarist Matt Johnsen is perhaps the biggest surprise here, as the man has always been an extremely proficient and talented guitarist, but here he has upped his intense guitar hero mastery by a few hundred notches, cranking out beautifully intricate and detailed riffs and melodies for a solid 50 minutes straight. "Rats and Rope" and "Red Honor" lead the pack in terms of creative intensity, pounding down on your skull with a blistering, harmonized fury unlike anything else you will hear this year. "Cover Your Eyes and Pray" and the title track feature the more melodic, introspective side of the band, with some slowed down, mid paced melodies that just seem to glide easily along, searing your eardrums with a profound sense of grace. Stellar, all of it.

I think my favorite thing about this album is how it feels like one of the older Maiden albums, with its swashbuckling, adventurous mood and high-flying melodies that catapult themselves in all directions around the galloping riff work. This is one of those albums that will take you on a journey to fantastic and strange places you've never been before. Picture vast, beautiful wildlands littered with ancient, crumbling temples, tall, towering trees and a reddening sky, and you'll have an idea of what this album evokes. Picture a deep blue sea, stretching out for miles on end, with nothing but the fading light of the heavens to console you, and you'll have an idea of what this album evokes. The band seems to know exactly what they're doing at all times, making every single vocal line, every single chord and every single drum beat count. There is not one wasted moment on this disc. The whole sound is one of immense magnitude and immeasurable power, definitely one that will grow on the listener with time. Be Gone is album of the fucking year, and if you want a soundtrack next time you're playing Indiana Jones and searching the Congo for ancient artifacts in lost temples of gold, I would advise taking this album along.

Originally written for http://www.metalcrypt.com

Though I'm tired of amateurs doing terrible jobs of covering Iron Maiden, I'm all for kickass bands that are very much influenced by them, and judging by their sophomore effort, Pharaoh are a band that know all about bringing the boot to the backside. So what do they mean by releasing an album that's title basically suggests that you GTFO? Not sure, really.

What I do know is that this won't have much trouble going down with all you fans of powerprog or just straight up heavy metal. When it opens up with Speak to Me, you could get a teensy bit worried at the modern metal overtones, but soon enough, there are twin guitars laying down harmonised lines, dynamic tempo shifts and it happily hits you in the gut like good rock should.

The skill of the members involved here is never called into question. Matt Johnsen pulls of the impressive feat of forming a rousing one-man guitar duo, laying down harmonised riffs, great fluid solos and backing all the lines tremendously well. Tim Aymar sounds a bit like an unhinged Dickinson, and when he goes for the high notes, it's like his lungs are fit to burst, what with the energy being employed. Now that's how metal vocals ought to sound.

Complaints about the production being too clean are justified, however. This most noticeably affects the drum sound - the kick drum barely makes a 'tick' - and the guitars, if there's any staccato riffing happening, like on Dark New Life. Come on guys, for an oldschool serving like this, you really need to keep it a bit muddy.

Then there's also the fact that the songwriting is a little more straight-laced and timid than it was on The Longest Night. When they hit their stride with songs like Red Honor and Rats and Rope, it makes for tremendous listening, but some of the others do get a bit watered down at times. This is especially evident with the last three songs, including the title track - seems like the album ran out of steam, and they hitched a ride on the Pony Express instead. Except it turned out that it was a mule...who had to stop every five minutes to take a breather. Pack enough gas for the whole trip, you fellows!

Still, the album's got way more good points than bad, so no point nitpicking too much. Cruz Del Sur have another winner

http://www.kvltsite.com

Pharaoh have been making waves for a long time, ever since their debut After The Fire. Their sophomore effort The Longest Night ended up on a lot of 'Best Of' lists a few years back, and this was one of the albums I was anticipating very highly this year. I expected Be Gone to be a masterpiece, and it is. Building on the foundation of their previous releases, Pharaoh have made an overwhelming album.

It's not often that you spin an album, then read the pants-wetting promo copy and find yourself nodding along, saying 'yes, yes, that's absolutely right.' One word Cruz Del Sur used, which I agree with completely, is erudite. Pharaoh know their tradition, and they draw deeply and expertly upon the built-up vocabulary of Heavy Metal to create a sound even more individually their own. Matt Johnsen's guitar work is nothing short of jaw-dropping: heavy, sharp, insightful and surprising. From the very first riff of "Speak To Me" the music captivates, made even greater by the tight rhythmic syncopation and Tim Aymar's hungry, powerful vocals. This is far less accessible and catchy than The Longest Night, instead presenting us with intricate melodic constructions like "Dark New Life", "Red Honor", "Telepath", and the showstopping "Buried At Sea". Far from operating in a sterile Prog realm, Pharaoh make every line and note both visceral and immediate. This band is passionate about their music, and you can hear that in every song.

Long after past greats like Queensryche and Fates Warning have faded into worthlessness, Pharaoh prove you don't have to play 50,000 notes or sound like Dream Theater to make intelligent metal. Those devoted to the immediate gratification of bands like HammerFall or Gamma Ray may find this too dense and involved, but those with an appreciation for depth and richness in their music will find this album powerfully rewarding. Highly Recommended.

Originally written for www.metalcrypt.com

Welcome to the Redundancy Game! That’s right kids, we’re back to bring you another fecal-smeared tampon not even worth a can of deceased earthworms: Pharaoh’s “Be Gone.” Boasting Tim Aymar from Control Denied fame, this forsaken atrocity miserably collapses beneath Pharaoh’s one-dimensional stance on power metal, which proudly gloats over repetition’s DNA, minimal variety on all fronts, redundancy up the kisser, and mongoloid-like simplicity. Unlike other bands concerned about their music, Pharaoh just squats and records anything emerging from the dwelling anus that openly defecates on poetic attributes, alongside your patience, which is the essence of “Be Gone” in a simple sentence. Take a step up, you fragile morons!

The rules are simple: earn points if you act stupid, and Pharaoh slam-dunks right from conception. As predictable grooves and sleep-inducing textures intoxicate “Speak to Me,” you can see the band slowly earning Redundapoints from things that start simple, stay simple, and end simple. Every musical pattern parks on bland pastures that encourage generic riffs usually stuck in mid-paced patterns, unmemorable percussion, unneeded harmonies digging everything even deeper, and solos that would have done “Be Gone” better if they weren’t used. Truth being told, all the material here is REALLY unoriginal at best, albeit a passable riff every twenty minutes or so, but still nothing screaming of independence. In other words, it’s about as entertaining as a toad trying to decide whether it should nosedive into a pond or continue hobbling down a sidewalk.

Come on up Timmy; it’s time to spin the wheel. Sure you did wonders with Chuck Schuldiner in Control Denied, and as the limelight overshadows those past glories, you’re left dragging “Be Gone” all by yourself. Poor Timmy! As a matter of fact, this talented singer performs rather enjoyably when times seem tough; however, all that weight is too much to handle. Time and time again, we see our good friend struggling with these extra loads as he desperately tears his larynx in hopes of saving Pharaoh’s failing effort, yet nothing can repair the body when its spine is torn out, right? Congrats to Tim for keeping his decency, but shame on the other gentlemen responsible for brings this whole record six feet under.

The honest consensus of Pharaoh’s third full-length record was born of a dreadful nature, yet there are several reasons ranging from obvious issues on musical ties to jejune performances that destroy “Be Gone” entirely. How can a faction succeed if the group in question isn’t giving a percentage of their supposed effort? Even better, who suggested a single vocalist could lift an entire squad above mediocrity? Those questions, my friends, are two revelations Pharaoh must face before charging at future tribulations; they can’t overtake a useless wino with their presented effort here. In the end, “Be Gone” needs to be gone.

This review was written for: www.Thrashpit.com