Pharaoh Power Reviews United States 2023 Price - There’s a common idea that the NWoTHM for the most part was the second coming of classic ’80s metal styles, primarily of the NWoBHM and its immediate descendants, and that we mostly owe it to bands like 3 Inches of Blood, Enforcer, Alpha Tiger, White Wizzard and so on for the second wind of what many believed was an extinct style (as opposed to a wide umbrella encompassing more than we can name). This of course falls apart if you actually dig deeper into metal as a whole past whatever golden age record labels, tastemakers, and hype-makers are telling you is coming back. Another misconception that follows in its wake is that these styles are essentially finished projects with not much if anything left to offer in terms of growth or idiosyncrasy which falls just as flat after a bit of snooping around the less glamorous corners of an increasingly commercialized genre.
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At the outset, the idleness didn’t really stir undue concern, by reason of the band’s recognized patience and habit of radio silence. But as the years continued to tick by, and even amidst an unexpected resurgence of bands from every corner of the globe rekindling and redeveloping classic US power metal, the Pharaoh coffers remained shut. Aymar eventually packed up and moved; Chris Black became more active with his other projects (High Spirits, Dawnbringer and Aktor); and Johnsen and Kerns… well, they never really seemed terribly concerned with sashaying into the public eye.
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Given the turbulent times that painted its backdrop, it’s likely no surprise to discover that The Powers That Be is a fairly dark record, especially for Pharaoh; the album does not shy away from condemning the former administration that initiated and perpetuated unrest, discrimination and division, but it does so in a way that never feels overly moralizing. Furthermore, there are songs here that engage very personal and bleak sentiments of being overwhelmed and the desperate need for escape, but it manages the delivery without ever feeling unduly maudlin. Hope is the key, and that element in particular is forever woven into the fabric of the band’s broad perspective, largely due to the unique and fiercely fucking melodic fretwork of Matt Johnsen. The man clearly did not spend the last decade simply sitting on his hands, and anyone familiar with Pharaoh knows to expect an endless barrage of labyrinth riffing and stacks upon heaps upon mountains of solos that recall the sort of critical energy once dispensed by the hugely underrated Criss Oliva. Johnsen is of course responsible for the lion-share of the leads on this record, but the album opens with a song featuring a guest spot from Voivod’s Daniel Mongrain (!!!), and as is tradition, Jim Dofka provides a guest solo as well, this time on “Lost in the Waves.”
It would be fair to state that The Powers That Be feels a smidge less rabid about the immediate vocal hook compared to previous works, but that isn’t to say the record ain’t catchy, or that Tim Aymar has lost any of his edge. Point of fact, Aymar sounds just as one might hope a vocalist would sound after the passing of a decade: 10 additional years worth of grit, but clear indicators that the time has been spent further honing the craft. Aymar’s vocals throughout are a little huskier, which suits the overall darker tone, and he rightfully gets a full spotlight with the (perhaps) surprising inclusion of a grim ballad, “Waiting to Drown.” When coupled with a late bit of martial snare, this little unexpected gem flashes a touch of Spaghetti Western on the edges—something that might seem a bit incongruous on paper, considering the band’s history, but it works really well within the overall design of the record.
Outside of the increased darkness, the next most significant distinction in contrast to the back catalog is the added emphasis placed on the play of Chris Kerns and Chris Black. While this isn’t a new direction, it certainly takes a similar intention from 2012’s Bury the Light and shifts it to the next level. A song like “When the World Was Mine,” for example—one of the album’s more introspective numbers—exhibits all the trademark warmth we’ve come to expect from Pharaoh, but Kerns’ bass is as playful as Johnsen’s fretwork in the song’s front half, and the interplay between just him and Black’s drums after all else goes quiet around 3:20 adds a perfect pinch of individuality before the song launches into yet another bright lead.
And it’s not all doom & gloom, of course. The opening title track goes right for the throat in an almost irrationally melodic manner, “Ride Us to Hell” flies like a singing hornet, and “Freedom”—a song that all but screams “Chris Black” because of the way the it incorporates gang-shouted cries of “No! No!”—is a Celtic-hued charger that’s as allied to bands such as Dark Forest as Pharaoh’s ever been. The album also closes on a highly optimistic note; “I Can Hear Them” is the consummate Pharaoh song, packed with warmth, bright energy and what has to be considered the record’s most crucial riff breakout about 20 seconds in. By the time the tune closes out, the listener is ready to jump into a full Pharaoh binge.
Most any longtime Pharaoh fan will gladly inform you that 9 years is far too long to wait for new material from this crew, but we’re also the sort to quickly admit just how lucky we are to already have four full-lengths and an EP’s worth of greatness from them—an exceptional feat in and of itself, considering how often the quality from bands has a tendency to fluctuate. And when the end product is so consistently gratifying and restorative / curative as is Pharaoh’s music, it’s only natural to worry about the day when that wellspring will eventually run dry. Luckily, we’re not there yet, and word on the street indicates that Matt Johnsen is already working on material for the next record, so hopefully it won’t take another decade for us to hear even more grade-A epic, progressive US Pharaoh Power. Sure, life and times could very well end up getting in the way of it landing sooner rather than later, but it’s probably best to not worry about that today.
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