I’ll be honest with you: at this point, concept albums tend to leave me a bit, well, meh. I like songs. I like the songs to be good. I’m not that bothered about your story, which probably isn’t going to be as good as a novel anyway.
Gloryhammer, of course, have rather different ideas about these things.
Their latest, “Space 1993: Wrath Of Kor-Virliath”, is a direct sequel to their 2015 effort, “Space 1992: Rise Of The Chaos Wizards”. There’s a whole universe to explore here, should you fancy it. I’m principally concerned with whether the tunes are any good.
Even by their standards, though, this is cinematic. “Ultra Portam Astralem” makes that clear from the off, setting the scene with the sort of grandeur that suggests something momentous is about to happen. “Ultimate Sacrifice” follows with something more ominous, and the heart of the Hootsman is involved. We’re barely underway and already there’s quite a lot to take in.
“On A Quest For Aberdeen” finds us lost in the valley of the unicorns and fighting for Aberdeen. No, me neither. I don’t really understand it, and I’m not sure I’m supposed to. The guitar, though, is sensational. Whatever’s happening in the story, that much is beyond dispute.
“Die With A Sword In My Hand” has proper thrash drumming from Ralathor, Mysterious Hermit of Cowdenbeath. I’m assuming that’s not his real name. There’s some real aggression underneath the grandiosity here, and the fists-in-the-air intent is obvious.
By “Silver Talon”, they’re on Mars for a romp about and a regroup. You know this is ludicrous. They know this is ludicrous. Yet, despite yourself, you can’t resist it. The enthusiasm is infectious, and they’ve got the hooks to make sure you’re coming along.
“Starfighters Of Leuchars” is more conventional power metal on the surface, although listening to the words soon sorts that out. “Warriors Of Auchtermuchty” is equally ridiculous, but try keeping your fists down. You can’t. That’s the thing with Gloryhammer: however much you might raise an eyebrow, they keep giving you reasons to join in.
“Pax Galactica” has a proper chug, while “Demonic Devotion” is a proper pop song. Disco-tastic, frankly. It brings to mind the knack Christopher Bowes has always had for making absurdity catchy, whether with Gloryhammer or the probably better-known Alestorm.
“Hammer Of Fate” soars into its chorus, and you’re struck again by how conventional these songs really are. The lyrics and concepts are completely crackers, but the melodies are immediate. You don’t need to understand the finer points of intergalactic Scottish warfare to recognise a chorus when it arrives.
Then there’s track 11, with a title so long I’m not even going to attempt it. There’s shit about space lizards and a 12-minute epic, and it wraps everything up like the climactic battle in a Marvel film. After everything that’s gone before, anything smaller would probably feel inadequate.
Really, when it comes to Gloryhammer, you’re either in or you’re out. If you’re in, this stuff is difficult to resist. They’re the sort of band you could use to explain power metal to someone: the grandiosity, the guitar playing, the choruses, the sheer commitment to being as over the top as humanly possible.
If less is more, just think how much more more could be.
Gloryhammer keep putting that theory into practice. More often than not here, they nail it.
Rating: 7.5/10
