After the Fire

Pharaoh’s debut turned 20 years old in the very year its terrific frontman Tim Aymar sadly passed away, two days before my own birthday. That was a shocking event, as Tim was too young to go. The band was still clearly in top form, as demonstrated on their last release, the rightfully acclaimed and quite fierce The Powers that Be. I paid homage to Tim in this year’s Day of the Dead, celebrated here in Mexico on November the 2nd. I basically listened to all of Pharaoh’s discography and the lone Control Denied album. I’ll review that one in due time, but for the time being I’ll start with Pharaoh’s debut, released at a time when European power metal was in great shape, but USPM seemed relegated to the underground and veteran metalheads’ memories of old. One of the reasons Pharaoh became one of my all-time power metal favs is because they bridged and fused both styles of power metal while managing to forge a personality of their own. They possessed the melodic sensibilities and technical chops of the leading European bands of the scene, but refrained from incorporating flashy keyboards or orchestral arrangements, keeping it simple and in the face, as the original USPM bands did in the 80s.

After the Fire was actually the fourth LP I listened from this greatly underrated band, and my first thoughts pertained the simplicity of the compositions compared to their later material. Even though the length of the tracks mostly remained within the 4 to 6-minute span in their following works, their debut emphasizes simple tracks without the abrupt tempo changes and progressive twists and turns that would become their defining trait. Now, that’s not something that subtracts from the overall quality of this record, rather, a simplified or embryonic form of Pharaoh that nonetheless is quite enjoyable. Thinking about my recent review of Iron Maiden’s Dance of Death, I always thought Pharaoh’s first LP uses melodies in a similar way to the Irons, displaying a similar weight or level of heaviness in their rhythmic riffs (that is, not too heavy, compared to a great part of the whole 21st Century metal spectrum), albeit with a marginally fuzzier guitar tone.

But before they perfected their metallic instrumental persona, it was Tim Aymar the one who gave the band its defining personality. He certainly reminds me of Bruce Dickinson, more so during his raspier 90s era. But Aymar sometimes finishes some words with a deeper tone, so he’s not just an American Bruce. Tim’s full range is experienced on “Heart of the Enemy”, which starts like a melancholic ballad, and as it transforms into a hard rocking number so does his vocals get gruffier, especially during the bridge. On the following track, one of my favorites, “Solar Flight”, he sustains a smokey tone during the elongated last word of each phrase, and he finished the song with a subdued soaring scream. Another great performance of his can be enjoyed on “Never, Not Again”, more of the Dickinson-esque operatic & melodramatic grandeur variant. I feel he was finally unleashed here as a vocalist, as compared to his more ‘controlled’ performance on The Fragile Art of Existence, even though Chuck Schuldiner himself sought the services of Aymar after listening to his previous band, Psycho Scream.

As for the power trio behind him, they definitely express the ‘power’ element. Matt Johnsen and Chris Kerns provide the string attack, the latter also playing bass guitar. Their riffs range from classic hard rock and NWOBHM-inspired, to the fastest Euro power of that time. The solos are satisfying, varied and technical enough, never delving into pure wankery or negatively overstaying the listener’s ears. The rhythmic section formed by Cherns and drummer Chris Black is pretty solid, and unlike with other power metal bands, they aren’t just stuck in hyper fast mode. In fact, there aren’t many extremely fast Pharaoh tunes, especially here, where most songs are mid-tempo. Of course, despite the simpler nature of the compositions on After the Fire, there are still some tempo changes, keeping each and every track varied and interesting. And that melancholy… another of my favorite Pharaoh traits! They’re sad power metal, I’ve always thought that. Their mixture of melodies, lyrics and Tim’s intonation always gets me like no other power metal act, except some Blind Guardian tunes. But in Pharaoh’s case, even when the tracks sound uplifting, there’s just something solemn, nostalgic or downright sad about ‘em which make them such a unique band and one of my recurring preferences.

“The song of my soul will never sound the same
Until we meet again
The tears ever flow a river of disdain
So unfailingly flowing to the end”

The production values are great, with a decidedly organic sound of the bass and drums. The moderate fuzziness of the rhythmic guitars also sets this album apart compared to the prefered crystal-clear sound of most Euro power acts. And, as stated before, another strong point is that there aren’t fillers to be had, as in most Pharaoh releases. I wouldn’t part with any composition here, even though I have some favorites; the faster title-track, and the also fast closer, “Slaves”, which main riff I even had as my cellphone’s ringtone. Their very own “Flight of Icarus”, “Solar Flight” is also quite memorable and potent. In fact, the last four tracks, or whole B-side on the Cruz del Sur vinyl version, constitutes the strongest part of the record, to my ears. But even “Opum”, the short instrumental opener, which even though I’d wish it to be longer but actually is perfect as it is, is quite fulfilling.

After the Fire might not have made splashes in the power metal world like a Dawn of Victory or a Sonic Firestorm, and it didn’t possessed the high-profile weight of The Fragile Art of Existence, yet, in the later years I’ve come to revisit this album more than those others. Maybe I grew tired of the unabashedly uplifting Euro power, or maybe I have become more of a Grinch-like metalhead as years have passed, maybe both, but Pharaoh’s more streamlined and mature take on the genre has become a staple in my listening habits. I’ll forever regret not getting a chance to see this band at a live gig, but I’ll forever keep listening to Tim’s voice until my own time comes.

One of the things that first struck me when hearing Pharaoh almost a decade ago was just how obvious the members' love for metal music was, and I think this carries through in a big way to their compositions. The members have an enormous collective pool of experience, and not just because of their involvement with other groups like Dawnbringer, Control Denied, Superchrist, etc, but for instance Matt Johnsen has written with several 'zines including Metal Maniac and has a massive CD collection. When it comes down to it, these guys ARE metal nerds, and this is precisely the reason they succeed. Who better to fight back the tides of stagnation from an ailing niche than those so well versed in its flaws and redundancies? I mean, let's face it, while there are plenty of trad and power metal groups worldwide, and the styles' live presence in Europe and other foreign countries maintains some stability, the US is not exactly a hotbed for it.

We've got good bands, even a few festivals, but the style involved seems to resonate with only a few loyalist flag wavers from the 80s and adventurous youngsters who are interested in the roots and see the appeal. It's heavily outdrawn at gigs by death, black and 'core tours, and younger audiences (who, whether you'd like to admit or not, are vital for any music scene) seem to migrate to the next biggest, angriest fashionistas available. Generations tend to carve out their own cultural and subcultural identities, and the traditional approach implicit to a lot of 70s and 80s worship, or as several acquaintances have dubbed to me, the 'old man metal', is just not 'theirs', though some seem to appreciate it with a sense of irony. I mention all of this, because I have long felt that Pharaoh might just be one of the bands that breaks this mold. They certainly cull their riffing aspiration from all manner of bands in the 80s, but they apply a fresh coat of paint which earns them a level of distinction so few have attained, and they remain one of the best and brightest hopes for the style.

This is achieved through the songwriting, the unique vocals of Tim Aymar, and the band's heavy emphasis on melodies so brazen they often border on 8-bit video game era purity, and though Pharaoh has grown more complex through the years, they've maintained these aspects through all four of their full-lengths. Their 2003 debut After the Fire, released through Cruz Del Sur music, is perhaps the crudest of their efforts to date, but all of the aforementioned elements were already established. Matt Johnsen's heavy sense of melodic refinement floods through the intro, and persists across the vocal tracks, mounted on the bedrock of more familiar charging triplets and chord patterns, but creating an extra, sugary majesty that resonates deep within the listeners' ears. The writing impetus hearkens back to the later 80s, where groups were forcing ideas up against the boundaries of speed/power metal tradition, and ramping up personal prowess. Pharaoh might not be as manically classical as Helstar in their prime, or as explosive, shrieking and progressive as the power thrashers Toxik and Realm, but they often feel as if they were cut from a similar cloth, taking Iron Maiden roots and then saturated them with a glimmering haze of harmonies.

Aymar plays a huge role here, due to the varied dimensions of his voice. In addition to the more obvious, familiar inflections of Dicksinon, Dio and Halford, he possesses a smoky huskiness in the lower range redolent of Omen's late J.D. Kimball. His screams are quite shrill, but I most enjoy his sustained, upper pitch vocals that have a natural waver to them. Having only heard the guy on the rather underwhelming Control Denied record The Fragile Art of Existence in 1999 (with Chuck Schuldiner), I had an idea of what to expect, but where that album was a timid sampler of his potential, he seems to completely unleash his emotions in Pharaoh, and After the Fire is far richer for it as you'll hear in the title track, where he soars over those catchy, popping melodies in the chorus; or "Solar Flight" where he matches the momentum of the charging rhythm guitar like a hawk keeping pace with a semi truck on a desert highway. I think it's true that the man has some limitations, but the range between pitch parameters, and the conviction and fullness of his timbre ensure that we've got a long way to go before I ever get sick of hearing him.

Rhythmically, the Chrises (Kern and Black) invest a versatile backdrop over which the guitars and voice can journey, but they are no slouches themselves. The percussion on this album has a pretty down to earth, studio feel to it which cymbal slap and tom fill, and Kerns weaves both a steady Steve Harris stream of muscular low end and some progressive rock influence that doesn't always follow the guitar directly. He gives you something else to listen to, which is more than I can say for many in his position. After the Fire doesn't gleam quite as much as the later records in terms of production, it was after all a debut and the band was still sharpening the sword, but it's all quite clear and honest, with a decent crispness to the rhythm guitar and an all around clarity where you can pick out each melody and vocal track and not lose the solidarity from the drums and bass. The lyrics are also quite nice, personal and occasionally cliched, but it wasn't as if they were writing trite, cut and paste fantasy phrases like those that confine many other power metal groups.

Song for song, After the Fire is not a match for The Longest Night or Be Gone, in fact it remains their least memorable full-length to date, due partly to the fact that several of the songs manifest in slightly predictable configurations where the melodies or vocals are really the only aspects steering the listener's interest. There is unquestionable variation here, from the more galloping tunes "After the Fire" and "Solar Flight" to the more introspective, Maiden-like "Flash of the Dark", but only half the songs really stick for any good length of time. But as a blueprint, it functions admirably: all of their later records are built off similar emotions evolved through superior riffing and chorus sequences that beg for repeated listens. After the Fire, not so much, there are a few tracks like "Now is the Time", "Solar Flight" and the title cut that belong on a highlight reel, but the rest aren't quite so charming by comparison, and the end of the album in particular seems to dip in memorable appeal.

Even then, though, it's a great first album, a positive introduction to a band which continues to struggle on in a world of mallcore, djent and Morbid Angel techno to mold the past with the clay of the future, and fans that have jumped on this wagon at any later point can reach back and appreciate it for its similarities, as it's not incredibly difficult in thematic or stylistic execution than the excellent sophomore or their 2008 masterpiece.

-autothrall
http://www.fromthedustreturned.com

Highly melodic with a fierce attitude rises Pharaoh, seen by me as the offspring of Control Denied and all the goodies of 80s traditional metal, but even that’s really stretching it. As a minor power metal fan, Pharaoh strikes me as one of the more comforting bands because they aren’t (if I have to use the word, then let it be now) cheesy as many others that apply more symphonic elements from use of keys to full-on opera style ethics. No, all we get is straight up harmonies, shining riffs, galloping rhythms, and whatever else is around the corner.

When it comes to vocals, power metal is one of the last genres I hit. Most screams and growls I can manage since they all stay within the same type of range, but power metal hopes to bring more of a unique approach out of the band, and Aymar pretty much had his shit down from day one. I’m not too familiar with his past bands, but something about his voice is extremely soothing without becoming whiny or childish. His vocals are hoarse and grainy, but loud and proud enough to scare anything in the animal kingdom. It’s a more manly style, which gives the music a hell of a lot more edge.

Guitars are the first to take advantage, utilizing two different takes on creating magical songs: soaring riffs and harmonized leads. The tone of the guitar isn’t too bludgeoning, but it’s solid enough and pretty innocent. The real charm comes from the leads, which remind me of a more delightful, medieval Iron Maiden. There aren’t too many twin lead attack moments, but the music is highly melodic and easy on the ears without becoming simplistic. “Forever Free” qualifies as the first track to really run home with these traits, but they’re not too far and away with the rest of the songs. Bass support could be more beefy, although you notice it adding a bit to the music in the form of riff-following. I wish it was louder as to provide an extra layer of music, but the experience is all right the way it is. Drumming itself it fun, but they sound kind of stale and definitely a notch lower in the mix. They’re nothing obvious, since Black is frantic as all hell and appealing when lying down a smooth, calm pattern.

The songs themselves are catchy but not particularly epic, which kind of makes this album a little bit lacking when it comes to replayability and enjoyment. They’re good tracks, but the band could have gone the extra mile, a deed which could have paid off heavily. They missed the chance with this album, but they scored big time with the sophomore, which I recommend over this one. Give this one a chance, though, and you’ll find it in your heart not to part with it.

Rising from some ancient, obscurely forgotten tomb at the bottom of the ocean, Chicago's Pharaoh have become quite a formidable force in the American Heavy Metal scene, using powerful riffs, well constructed, tight melodies and the powerful, vicious vocals of Tim Aymar to kick your ass in about seven different ways at once on every song they write. This was their debut, and while it is overshadowed in every way by the two albums following it, it is quite a good album in its own right, anyway.

After the Fire is one of those albums with an absolutely amazing opening track that sets the listeners' expectations higher than what the rest of the album actually delivers. And indeed, the title track of this album is one fucking good piece of Metal, with a smoking, smoldering main riff and a fantastic performance by the unstoppable Aymar that's worthy of Bruce Dickinson in his prime. The chorus is catchy as Hell and the lyrics are well done, too, and lo! This is perhaps the best way to introduce someone else to Pharaoh's grand repertoire of Heavy Metal mastery, just an extremely well done song on all sides.

The rest of the album just doesn't quite live up to this song, though, and the whole album falls short of expectations when compared to its follow-up, the intense and gripping The Longest Night. Don't get me wrong, every song here is pretty good, with Maidenish galloping riffs aplenty and a fine vocal performance, along with some shimmering solos from lone guitarist Matt Johnsen, but it won't really wow you and it isn't much you haven't heard done better anywhere else. After the Fire will be remembered as an important first step for a very important band. Everyone has to start somewhere.

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

I can’t believe that just a couple of years ago I used to be utterly uncompromising in my attitude towards contemporary metal stage. IRON MAIDEN, JUDAS PRIEST, ACCEPT, AC/DC, HELLOWEEN, BLACK SABBATH and DIO were the only genuine bands for me and for ages I marched under their high standards not even trying to turn off the road. But somewhere at the beginning of millennium a staunch supporter of old school in me fell into oblivion, and, thanks god, a more flexible type of a metal head showed up in the nick of time. With quite a zeal I took to task of exploring absolutely new territories and unexpectedly found them very intriguing and magnetic. Since then I’ve passed myriads of ways and discovered a lot of new bands and albums. PHARAOH’S “After The Fire” became one of those revelations.

I’ve read dozens of reviews of this work and it seems everyone unanimously tends to compare it with IRON MAIDEN. To some extent, it may be so, but only to some extent. Over the last year this CD has repeatedly found its way to my decks, and the more I’ve spun it the fewer MAIDEN’S influences have leapt to my mind. Having added to their armory some of the formulas invented by their Big British brothers, these Americans still contrived to create a peculiar sounding which make them outstanding among other newcomers. If speaking honestly about any borrowings from here and there your fingers on two hands and toes on two feet as well as hairs on your head (unless it’s bald) won’t be enough to count them. But let’s agree that this is not a-without-precedent-case on today’s metal scene considering the limited nature of the style. Everybody borrows from everywhere. And every time a newborn formation sees the light it is inevitably compared to those on the podium.

My personal belief is that PHARAOH sound more like their Progressive fellow countrymen SYSTEM X but using a more traditional metal as a target. Presumably my conviction is mainly backed up by the top work of vocalist Tim Aymor who is not a jot weaker in his delivery than Russell Allen of SYMPHONY X. This is mainly due to the fact that Aymor’s diapasons are wide enough to let him sing in a rather mellow manner at some points and scream as if he were in raptures at others.

Musically, PHARAOH have a cartful of identities, especially owing to the great taste of melody and the distinctive velvety sound of guitar riffs. Frequently utilizing twin solo guitars, which is, no doubt, MAIDEN’S logotype, Matt Johnsen still manages to present them as if they were his own invention – and this very fact is yet another evidence of their professionalism and competence.

The rhythm section also contributes some superb pieces of work to the album. It particularly concerns drummer Chris Black whose diverse manner of drumming perfectly fits the whole action. Bassist Chris Kern can’t be deprived of some good words either. Not only does his bass serve as a good framework for the whole album, but also it grants us with some nice solo licks and beautiful weaves here and there.

Some words about their songwriting should be said as well. As I’ve mentioned above PHARAOH is a melody oriented band and this their strongest and weakest point at the same time. The strength is that a good deal of tracks on «After The Fire» delivers an instant hook at the very first listen. Even my 13-year-old daughter was immediately captured by such songs as “After The Fire”, “Flash In The Dark”, “Heart Of The Enemy”, “Never, Not Again”, and “Slaves”. But this flash-like appealingness may not do them a favor and quickly pall on their listeners. On the other hand, any delicatessen can’t escape the fate of being put off for the time being; yet a genuine gourmand is bound to revert to the dish of his choice, so is a faithful metal head.