Halcyon Way's 'Bloody but Unbowed' - Album Review

It is a shame that despite lots of hard graft over the years, Atlanta's Halcyon Way are still relatively unknown. That is not to say that they have not made an impact or do not have a fanbase, because they do, but their status has not really risen since I saw the band supporting Delain in Birmingham way back in 2012. The band's heavy, yet technical sound, impressed me that night and I have closely followed the band's progress since without ever having the opportunity to see them live again. They seem to be the perennial support bands on European metal tours that I would love to see but sadly only make one stop in the UK which is in London on a Tuesday night - which is always disappointing! I hope one day to catch the band live again, but until then I will settle with listening to their studio albums - of which there are now four after their latest effort Bloody but Unbowed was released last month. This follows four years on from the impressive Conquer (which I reviewed here), which incidentally followed four years on from Building the Towers which is considered by many to the band's best work. To me though it is Conquer that holds that accolade, as it is probably the most unique-sounding album in the band's catalogue. I had high hopes for the follow-up, but sadly Bloody but Unbowed does not quite reach my expectations. That is not to say that it is a bad album, because it is not, but it does just not grab me in the same way that the previous one did. The band's tough Queensrÿche-meets-Nevermore sound is still present, but it seems that the band have made a concerted effort to step back from the more progressive elements of their sound in favour of a more hard-hitting straight-ahead sound. To me, it was the heaviness mixed with the progressive elements that made Halcyon Way such an interesting band and without that mix Bloody but Unbowed suffers when compared to its predecessors. It feels as if there was as much an influence taken from bands like Disturbed here than, say, Fates Warning - which is probably why the album sounds the way it does. Three of the four who made Conquer return with singer Steve Braun, and guitarists Jon Bodan and Max Eve (who has swapped from playing the bass to the guitar in the interim period since Conquer was released) making up the bulk of the band. These three are joined by bassis Skyler Moore and drummer Aaron Baumoel (Crown of Sorrow), bringing the band back up to their usual five-piece line-up. There are quite a few distinguished guests forming part of the 'Nailhead Choir', who contribute backing vocals throughout, including Todd La Torre (Crimson Glory; Queensrÿche), Matt Barlow (Iced Earth; Pyramaze; Ashes of Ares; We are Sentinels), Sean Peck (Cage; Denner/Shermann), and former frontman Sean Shields. There is also some keyboard work from Jonah Weingarten (Pyramaze; Echoterra; We are Sentinels), and all of these guests help to bulk out the sound of the album in places and give Halcyon Way a strong, powerful sound.

The album starts with the extended intro piece Devolutionize, which starts with subtle strings before exploding into a sombre twin guitar lead that forms a backing for some chanted vocals. The piece slowly builds up, and eventually transitions into the album's title track - the first proper song. A fast, thrashy riff forms the basis of the song, and Baumoel immediately gets a chance to impress behind the drum kit with some extremely fast footwork. One thing that is noticeable about this album is the increased use of harsh vocals throughout. Halcyon Way have always used harsh vocals for effect as and when required, but they seem to be much more prevalent here. Bodan, and now also Moore, perform these sections - and the extended heavy pre-chorus adds some weight to the song before Braun takes over again for an anthemic chorus. Braun is the band's lead singer, and still takes the lion's share of the vocals so has not been undermined by this slight tweak in sound. Braun's high-pitched, but slightly raw, vocals sound as good as ever and he really elevates the song's chorus to new heights. Blame, the album's single, has a great Nevermore-esque riff driving it and really harks back to some the best moments on the previous album. The verses grind along at a mid pace, with Braun's eerie vocals creating an unsettling atmosphere along with the snaking riffs. The chorus picks up the pace somewhat, with some more powerful drumming and a call-and-response vocal arrangement with the clean and harsh vocals battling it out for prominence. A catchy wordless vocal section that is sure to go down well live is the cherry on the cake, and ensures that the song is one of the most instantly-memorable efforts on the album. The following number Slaves to Silicon is one of my songs on the album, and coincidentally it is probably the song here that is closest to the band's older, more progressive sound. An off-kilter riff drives the song initially, before a bass-heavy verse allows Moore's rich bass tones to shine and Braun has a chance to deliver a slightly softer vocal melody due to the fact is not having to compete with the rest of the band! Other moments of the song are heavier though, with the chorus really sounding like something Queensrÿche could have come up with during the Rage for Order era. It is a melodic feast, and really shows Halcyon Way at their best. Another melodic feast comes in the form of the song's guitar solo, which is extremely memorable. This song brings a run of three excellent tracks to a close, with the album taking a bit of a downturn in quality with Superpredator.

Superpredator ups the heaviness, and opens with a pretty memorable riff that has a certain nasty grind to it that appeals, but the staccato verses sound a bit too close to late 1990s nu metal to really appeal. Nu metal was a metal subgenre that I never cared for, and hearing Halcyon Way attempting something similar does not convince me of its merits! The chorus is not that memorable either sadly, leaving this song with little to truly stick in the mind. Primal Scream is better however. There is still a hint of nu metal here, but there are also melodic moments within the riffing and a solid, enjoyable chorus. The little pre-chorus instrumental section definitely has that 1980s progressive metal feel, and the gang vocals in the chorus help it to stick. Ten Thousand Ways is similar and is another enjoyable song with one of the best guitar solos on the album. Bodan is traditionally the band's lead guitarist, but this song features both him and Eve trading solos off throughout. There are guitar breaks between nearly every verse and chorus, and this allows both the band's guitarists to show off their skills. The melodic shredding sticks in the mind, and another decent chorus gives the song vocal hooks. While the vocals are memorable here, it is the guitar playing that really makes this one stand out and again showcases a little of the progressive elements that Halcyon Way have included in the past. The Church of Me, while not quite as strong as the last couple of tracks, is still a decent offering. There are good ideas throughout this song, but I am not quite sure that it all came together in quite the way the band hoped it would however. The chorus is promising, and I like the inclusion of the pseudo-gospel backing vocals, but it does not quite take off in the way I would expect it to. The whole song has a slightly industrial feel throughout too, with a bit of an odd vibe that never seems to truly come together. I like what the band was attempting with this one, but it just feels a little unfinished! Cast Another Stone is a strong effort however that ramps up the heaviness again with a tasty main riff and a tough verse that bludgeons the listener with thick basslines and brick wall guitars, before the relentless chorus takes the song for another level with Braun's impressive vocal performance and some excellent drumming. I like the way that the song's chorus really picks up the pace. Often bands like this slow down for the choruses to allow the melodies to shine, but here the speed really works. It gives the song an urgency that really sounds great!

Crowned in Violence is similar in the heaviness steaks, but this features a more traditional slower chorus that is packed full of soaring vocal harmonies from the impressive cast of backing vocalists. There are some truly excellent riffs packed into this song too, which again contain some of that progressive feeling the band have become known for. I am glad that, despite being reduced here, that feeling is still prominent in a few songs. It is no surprise that these songs become some of my favourites on the album, with the more straight ahead efforts falling somewhat flat. Burning the Summit is a heavier piece, but one that comes with tonnes of attitude. The verses have a very traditional heavy metal feel with chugging riffs, before the choruses explode with Braun's excellent vocals and Bodon's harsh vocals adding weight. Braun even unleashes a high-pitched power metal-esque scream at the end of one of the choruses, which is not something he is really known for but it works well. This leads into another memorable guitar solo from Bodan. Desolate seems to have visions of being a really epic piece, but again I am not sure everything quite comes together. I like the fact that the little more of a dynamic song structure is attempted, with lots of prominent bass playing, but it does not seem to grab hold quite as much as it should. The chorus mostly feels to be one word repeated, even though this is not quite the case, which is something I would liked to have been fleshed out to make the most of the melodies. I feel with a little more work this song could have become one of the best on the album as it has all the ingredients to make a real impact. Insufferable is a song for Moore to shine during, as the bass guitar here is very prominent. The verses really feel his weight the best, with his big riff driving everything with the guitars snaking in and out. Apart from this however, the song does little to really stick in the brain. The fast chorus lacks any real stand out melodies, and the extended portions that contain harsh vocals again feel too close to mindless nu metal to excite. It is one of those songs that just comes and goes, without ever really sticking at all. The album's final number Stand for Something is better however and, despite not being as good as some of the other offerings here, ensures the album ends on something of a high. It is a pacy track with a strong chorus, and another memorable guitar solo that sees Bodan going on an extended workout. It is a pretty simple song, but it makes it's point in a concise and powerful way, and has some melodies that will stick in your head after the album has finished - which is the job of a closing number. Overall, Bloody but Unbowed is strong effort from Halcyon Way, but one I feel that lacks something when compared to the band's previous work. Fans of the band are sure to still find things to enjoy here however, with a core of excellent songs that are sure to excite. I would like to see more of the band's progressive side again going forward, as it is that that produces the best results in my opinion.

The album was released on 3rd August 2018 via Agonia Records. Below is the band's promotional video for Blame.