┌───────────────────────────────────────────────────────────────────┐
│■ ■│
│ .-/ .-. │
│ _.-~ / ___ | ~-._ │
│ \:/ -~| / __/| .\:/ │
│ / || (:/:| \ │
│ / /\/| |:\___\| |\ \ │
│ / /:::|.::/:::/:.|:\ \ │
│ / /:::/ \\/:::/::/:::\ \ │
│ / .::\ \-~~~~-/\/:.. \ │
│ /..:::::\ /:::::..\ │
│ /::::::::- -::::::::\ │
│ \:::::-~ ~-:::::/ │
│ \:-~ ~-:/ │
│ METAL CLASSICS ARCHIVE │
│ │
│ │
│ │
│ P R E S E N T S │
│ │
│ │
│ + Enchanter - Defenders Of The Realm + │
│ │
│ │
│╔═════════════════════╗ │
│║ Release Information ║ │
│╠═════════════════════╩══════════════════════════════════════════╗ │
│║ ║ │
│║ Rls Date..2020-04-01 Encoder......LAME 3.100 ║ │
│║ Genre.....Heavy Metal Graber.......EAC ║ │
│║ Year......2008 Khz/Bitrate..44.1 / VBR kbps ║ │
│║ ║ │
│║ Ripper....Anthem Songs........10 ║ │
│║ Source....CD Covers.......Yes ║ │
│║ Url.. ║ │
│║ ║ │
│╚════════════════════════════════════════════════════════════════╝ │
│ │
│ │
│ │
│╔═════════════════════╗ │
│║ Release Notes ║ │
│╠═════════════════════╩══════════════════════════════════════════╗ │
│║ ║ │
│║ Artist : Enchanter ║ │
│║ Album : Defenders Of The Realm ║ │
│║ Label : Arkeyn Steel Records ║ │
│║ Cat.No : ASR CD-002 ║ │
│╠════════════════════════════════════════════════════════════════╣ │
│║ ║ │
│║ Description : ║ │
│║ ║ │
│║ Since the conception of metal, myriads of bands have ║ │
│║ dwindled in obscurity, taking it upon themselves to release ║ │
│║ only a few songs over one or two demos or singles before ║ │
│║ vanishing from the face of the earth, never to return ║ │
│║ again. We generally tend to polarize these bands based on ║ │
│║ the fact that they have so little material that it's not ║ │
│║ likely to be diverse enough to facilitate a mixed opinion; ║ │
│║ thus the band is either thrown out the window as complete ║ │
│║ garbage, or elevated to a legendary status of a band ║ │
│║ untarnished by mediocrity, and, if they somehow reformed ║ │
│║ today, could certainly do no wrong. Enchanter falls into ║ │
│║ the latter category, releasing only eight songs over the ║ │
│║ span of two demos and a single in the late 1980s, but in ║ │
│║ this case every song was absolutely killer, making for a ║ │
│║ spectacular compilation album and thrusting the band, at ║ │
│║ least in my mind, onto a pedestal of the grandest heights. ║ │
│║ I can only imagine what it would be like to receive any ║ │
│║ more material from them - an EP, a single, or hell, even a ║ │
│║ live album. There's a good chance such a release wouldn't ║ │
│║ meet my expectations, which would be unrealistically high ║ │
│║ due to the fact that all of their previous releases, brief ║ │
│║ as they were, have been top-notch. Anything less would ║ │
│║ tarnish Enchanter's image for me. Thus, it's probably good ║ │
│║ that there's almost zero chance of that happening, and I'm ║ │
│║ left only to muse over these few offerings the band graced ║ │
│║ us with, which have been compiled in the single full-length ║ │
│║ Defenders of the Realm. ║ │
│║ ║ │
│║ The style Enchanter plays is a pretty unique style of USPM, ║ │
│║ although it could roughly be described as tough and ║ │
│║ masculine while simultaneously arcane and haunting, ║ │
│║ sounding something like Awaken the Guardian-era Fates ║ │
│║ Warning would if they suddenly decided to take some ║ │
│║ pointers from the more "blue collar" realm of USPM, like ║ │
│║ Omen or Virgin Steele. In other words, Enchanter takes the ║ │
│║ best aspects of both sides of the power metal spectrum and ║ │
│║ combines them into one coherent, fantastic beast that ║ │
│║ utterly slays just about all in its path. Certainly at the ║ │
│║ peak of its grandeur it could give even the mighty Fates ║ │
│║ Warning a run for its money. ║ │
│║ ║ │
│║ The album's production is pretty damn good, especially ║ │
│║ keeping in mind that the material comes from demos in the ║ │
│║ 1980s. The guitar is loud and clear, with a delightfully ║ │
│║ meaty tone which works perfectly for the album. Everything ║ │
│║ is mixed in quite well, with the guitar and vocals on more ║ │
│║ or less equal footing with very audible, pounding drums. ║ │
│║ The vocals here are fantastic, by the way. Brian David ║ │
│║ Osborne sounds something like Eric Adams of Manowar would ║ │
│║ if he used his upper register a lot more, constantly ║ │
│║ belting out confident shrieks. Being that this is a ║ │
│║ compilation, it's pretty easy to tell where one demo begins ║ │
│║ and another ends; if the two separate recordings of ║ │
│║ "Beckoned With a Call" weren't hint enough, the three ║ │
│║ sections of the album definitely have different respective ║ │
│║ atmospheres to them; the first four songs (excluding ║ │
│║ "Beckoned With a Call") are more triumphant and proud, ║ │
│║ tending to make more use of the major key, while the second ║ │
│║ four have more of a penchant for the mystical and strange, ║ │
│║ making more use of the minor key. "Ethereal Quarter" is ║ │
│║ sort of an amalgamation of both, with a nod to Shellberg's ║ │
│║ later band, Longings Past. ║ │
│║ ║ │
│║ The first four songs are probably the best, although ║ │
│║ calling them better than the second four is like calling ║ │
│║ $1,000,001 better than $1,000,000; the difference is pretty ║ │
│║ slim, and they're all fantastic anyway. "Thor" sounds like ║ │
│║ something Manowar could have released if the entire band ║ │
│║ has suddenly decided to crank up the power a few notches; ║ │
│║ it embodies the glorious, triumphant style Manowar played, ║ │
│║ but executed much better than any Manowar song. The ║ │
│║ crushing riffs, the piercing vocals, and the catchy gang ║ │
│║ shouts all work perfectly to drive the song home with ║ │
│║ utmost power. It's impossible to resist singing along when ║ │
│║ Osborne shrieks "HAAAAIIIILLLL, GOD OF THUUUUNDEEEER!!!!! ║ │
│║ HAAAIILLLL, HAAAAIIIIIIIILLLLL, ║ │
│║ HAAAAAAAAAAAAIIIIIIIIIIIIIIIIIIIIIIIIIIIIILLLLLLLLLLL!!!!!! ║ │
│║ !!!!!" ║ │
│║ ║ │
│║ "Defenders of the Realm" is similarly Manowar-ish, and ║ │
│║ while it's not quite as ambitious as "Thor", it hits nearly ║ │
│║ as hard, Osborne shrieking along just as proudly to the ║ │
│║ consistently fantastic riffs. "Tomb of the Unknown ║ │
│║ Soldier", on the other hand, is even more ambitious than ║ │
│║ "Thor", and hits even harder, possibly the best song here, ║ │
│║ and one of my favorite songs in all of power metal. It's a ║ │
│║ three-part epic nearly seven minutes in length, the three ║ │
│║ parts being named in the original demo as "Requiem", "The ║ │
│║ Seventh Gate", and "The Resurrection". "Requiem" starts off ║ │
│║ with a fantastic riff and blasts off into epic Manowar-ish ║ │
│║ territory, grandly stomping into "The Seventh Gate", which ║ │
│║ is a soft, warm acoustic passage with some cheesy narration ║ │
│║ and then some harmonized coos by Osborne, which sounds like ║ │
│║ nothing more than a beautiful lullaby, and might be my ║ │
│║ favorite part of the album. It quickly explodes into "The ║ │
│║ Resurrection" with some fantastic shrieks by Osborne and ║ │
│║ some of the best shredding I've ever heard by Shellberg on ║ │
│║ lead guitar. This piece has a slightly darker, more Fates ║ │
│║ Warning vibe to it, fading out with an ominous acoustic ║ │
│║ solo that closes out the epic perfectly. ║ │
│║ ║ │
│║ "Beckoned With a Call", is, as I've said, a bit different ║ │
│║ in atmosphere than the three other songs originally from ║ │
│║ the Defenders of the Realm demo. It's strange, arcane, and ║ │
│║ dissonant, but no less fantastic in execution, changing ║ │
│║ riffs often, and breaking in the middle of the song for a ║ │
│║ haunting acoustic passage that never fails to send to ║ │
│║ chills down my spine. (Which is ironic, considering ║ │
│║ Osborne's opening line in it is "Rush of cold around my ║ │
│║ spine"). It gives the feeling of some ancient, epic ║ │
│║ Lovecraftian horror that the singer is warning of. This is ║ │
│║ definitely another high point of the album. The song breaks ║ │
│║ into a lead guitar solo thereafter, before ending with a ║ │
│║ very unsettling riff that is perfectly complemented by ║ │
│║ Osborne shrieking, "Your fate is seeeaaalllleeeddd!!!!!!!". ║ │
│║ ║ │
│║ The next four songs, taken from the Time Gone Past ║ │
│║ Nevermore demo, are much more in the vein of "Beckoned With ║ │
│║ a Call". We start off with "Time Gone Past Nevermore", ║ │
│║ which again is dissonant and progressive, much like Fates ║ │
│║ Warning or perhaps Cauldron Born. The highlight of the song ║ │
│║ is probably where Osborne begins shrieking at odds with the ║ │
│║ minor key riff, but then the riff changes to one proud and ║ │
│║ triumphant, and suddenly Osborne's voice just slays ║ │
│║ everything in its path. Next is the re-recording of ║ │
│║ "Beckoned With a Call", which sounds largely the same as ║ │
│║ the original except with a slightly smoother production and ║ │
│║ some accompanying synths in the acoustic passage that ║ │
│║ really add to the atmosphere; this is definitely the better ║ │
│║ of the two recordings. ║ │
│║ ║ │
│║ "Keepers of the Dawn" is a bit simpler and less dissonant, ║ │
│║ but still strange and mystical, rich with its cryptic, ║ │
│║ ominous atmosphere. The main acoustic riff is fantastic and ║ │
│║ Osborne's vocals are positively haunting; this definitely ║ │
│║ keeps up to par with the rest of the album. "Imaginary ║ │
│║ Throne" starts off with a fantastic acoustic passage that ║ │
│║ is sorrowful and indignant; but it quickly rips into the ║ │
│║ Fates Warning-esque Enchanter we know and love by this ║ │
│║ point, complete with a progressive structure, dissonant ║ │
│║ riffs, a shredding solo and a mystic atmosphere. The ║ │
│║ highlight is definitely the epic-sounding narration partway ║ │
│║ through the song. The song drags on a little towards the ║ │
│║ end, but other than that it's excellent. ║ │
│║ ║ │
│║ Finally we have the intro which leads into "Ethereal ║ │
│║ Quarter"; it consists of Osborne doing some very haunting, ║ │
│║ surreal vocals and then some cool narration. "Ethereal ║ │
│║ Quarter" itself is probably the strangest song here; it's ║ │
│║ highly progressive, and has some Fates Warning tendencies, ║ │
│║ but the acoustic interludes are a little brighter, and then ║ │
│║ partway through the song it switches to major key, playing ║ │
│║ in a style of epic metal that sounds little like Fates ║ │
│║ Warning or Manowar or anyone else really, except ║ │
│║ Shellberg's next band, Longings Past. It is very personal, ║ │
│║ ponderous, and calm, or in other words, very Longings ║ │
│║ Past-ish. Nonetheless, it's very good, my only complaint ║ │
│║ being that Osborne's vocals sound a bit more restrained ║ │
│║ than usual. If you find yourself digging "Ethereal Quarter" ║ │
│║ I'd recommend checking out both of Longings Past's albums, ║ │
│║ I have reviews for both and both are good, although the ║ │
│║ debut is significantly better than the sophomore. As for ║ │
│║ the rest of the songs, turn on some Fates Warning and wish ║ │
│║ we had more like this stuff; it's pretty unique as far as I ║ │
│║ know. If you're a fan of power metal or epic metal at all, ║ │
│║ though, this is a must-have album; it truly is one of the ║ │
│║ shining gems of the genre. ║ │
│║ ║ │
│║ ║ │
│╚════════════════════════════════════════════════════════════════╝ │
│ │
│ │
│ │
│╔═════════════════════╗ │
│║ Release Tracklist ║ │
│╚═════════════════════╩══════════════════════════════════════════ │
│ │
│ 1. Thor 4:46 │
│ 2. Beckoned With A Call 5:26 │
│ 3. Defenders Of The Realm 3:20 │
│ 4. Tomb Of The Unknown Soldier 6:45 │
│ 5. Time Gone Past Nevermore 6:12 │
│ 6. Beckoned With A Call 5:19 │
│ 7. Keepers Of The Dawn 5:23 │
│ 8. Imaginary Throne 7:30 │
│ 9. Intro 1:25 │
│ 10. Ethereal Quarter 6:51 │
│ │
│ │
│ Total Length : 00:52:57 │
│ │
│ │
│ ▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄ │
│ │
│ │
│ │
│ ╔═════════════════════╗ │
│ ║ Greetings To: ║ │
│ ╚═════════════════════╝ │
│ │
│ Too all people who contributes to make this │
│ archive of good music in a exceptional conditions │
│ │
│ │
│ │
│■ ■│
└───────────────────────────────────────────────────────────────────┘