After the piano-led intro We are the Ocean, that is typical of most prog/power metal albums, the album gets underway with The Battle of Paridas. This song is probably the closest on the album to the band's old sound, mixing melodic keyboard leads with crunching rhythm guitars and double bass drumming to create an exciting metal track. Harøy is probably the least interesting the singer the band have had. He lacks the range of Lance King and the emotional grit of Barlow - but that does not mean he does not have his own merits. His voice is extremely melodic, and sits well with the sweeping orchestral backdrops that surround this song. The instrumental mid-section is excellent too, with Weingarten's fluid keyboard solo and Skjønnemand's guitar leads bringing some class to the proceedings. The album's title track is up next, and is the first song in the band's history to have a video for it (see below). It is a really memorable song with a huge melodic metal chorus and a catchy riff from Skjønnemand and Hansen that sounds like something a melodic death metal band might write. Again, keyboards dominate the sound, and Weingarten lays down some 1980s-inspired melodies as well as some excellent orchestrations. The chorus is the best part of the song however, and shows Harøy's skills as a vocalist well. Back for More is another melodic feast. Lead guitars and keyboards mix together well in the song's intro, and the tune they create is extremely memorable. The verses have quite an interesting feel. Despite the fact the drum patterns are quite frantic, the song still has quite a chilled out vibe to it. This picks up during the chorus however, with a repeat of the song's intro melody and some soaring vocals from Harøy. This is a very easy song to like, and has all the hallmarks of great power metal. Genetic Process mixes the band's historic power metal sound with the spacey sounds of Anubis Gate. The verses are quite down-tempo, with Harøy employing a lower vocal register to good effect, and the rhythm guitars just bubble under the surface. The chorus picks things up a little more, with some standout keyboard playing (again!) and a driving drum beat. Things get heavier towards the end of the song however, with a grinding guitar riff that leads into a melodic solo from Skjønnemand - who really shines on this album. Fearless was the first taste we got of the current Pyramaze album when it was put on Youtube, and it is another enjoyable song. It has some fast metal sections that get the blood pumping, and a chorus that again evokes that Anubis Gate sound. It is less remarkable than what has come before, but the melodies here are still strong enough to make it memorable.
Perfectly Imperfect gets off to a great start with a heavy, groove-based riff with plenty of pinch harmonics that is sure to give the listener a kick. The song is quite varied however, as after this we get an acoustic-led section that Harøy's voice dominates, which gradually builds towards the song's chorus. That groovy riff is back for that, but built upon with soaring orchestrations and melodic piano that cuts through the mix when needed. Skjønnemand again impresses with a slow, melodic solo that has all hallmarks of great progressive metal. Unveil is a heavier song with a really great off-kilter riff that mixes well with some powerful bass guitar lines. Orchestrations also join then fray, to create a really rich sound. The verses are quite moody however, with clean guitars and keyboards the drown everything. There is something of Pagan's Mind about this, with Harøy singing in a different and menacing way. It is another memorable song on an album full of them. Hope Springs Eternal, built around a catchy keyboard riff, is up next. Some of the power metal sounds of the band's earlier work is present here. Sørensen lays down some fast footwork here, and the guitar rhythms are tight and crunchy; taking a back seat to that memorable keyboard riff. The chorus is more atmospheric than melodic however, which takes the song down a slightly different path. Exposure again channels Anubis Gate, with plenty of dense keyboard arrangements. The vocal melodies here are really strong, and throughout the song continue to change and keep things sounding fresh. Musically however this song is somewhat less interesting. This guitars are restricted to keeping the rhythm and never really get a chance to break through and make something interesting. When Black Turns to White follows and opens with an excellent symphonic metal section with bombastic orchestrations and powerful guitar riffing. This is a song that really grows on you after repeated listens, and features some excellent solos from both Skjønnemand and Weingarten as the two play off each other really well in an awesome instrumental mid-section. Not to be outdone, Harøy also puts in a good shift here with some extremely catchy vocal melodies and a good use of his vocal range. For these reasons, this is one of the album's best songs, and one I am sure will be like by many. The albums final song is the short Photograph that almost seems to act as a coda for the album. The melancholy nature of it fits well with the rest of the album, and winds it down after all the fast-paced metal that came before it. Overall Disciples of the Sun is a really enjoyable piece of work from a band that many thought was over. It might be quite different to their earlier work, but if fans take time to really listen to what is going on here I am sure they will still find plenty to enjoy. After being initially sceptical, I was won over!
The album was released on 25th May 2015 via Inner Wound Records. Below is the band's promotional video for Disciples of the Sun.