Fireworks

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Pyogenesis - 'A Kingdom To Disappear' http://www.rocktopia.co.uk/media/reviews/photos/thumbnail/200x200s/26/44/5a/pyogenesis-a-kingdom-to-disappear-69-1502288939.jpg Hot

Added by Central Electronic Brain     August 09, 2017    
 
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This is the second in a trilogy of albums coming after 2014's anniversary comeback.

This is the eighth album from one of the co-founders of what was to become known as Gothic Metal. Stuttgart's Pyogenesis was formed in the early nineties by vocalist/guitarist Flo V. Schwarz, with 'A Kingdom To Disappear' the follow-up to 2015's 'A Century In The Curse Of Time'. This is the second in a trilogy of albums coming after 2014's anniversary comeback following a long period of inactivity during which they've re-invented themselves.

The intro track 'Sleep Is Good' is a great opener and will likely kick off their live shows. This flows into the first song proper, 'Every Man For Himself And God Against All', which features double kick drums, frenzied guitar and low guttural vocals during the verses juxtaposing the melodic and clean chorus.

'I Have Seen My Soul' is a favourite that leans towards Prog Metal territory and features a great guitar solo from Gizz Butt (whose CV includes stints with Fields Of The Nephilim and The Prodigy). Title track (sort of) 'It's Too Late (A Kingdom To Disappear)' is like one of those mid-tempo Rockers that the Scorpions do very well; you can imagine Klaus Meine singing the vocal.

Fireworks - The Ultimate Magazine For Melodic Rock Music

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This precedes one of my album highlights in the acoustic 'New Helvetia'. Quick history lesson for you, New Helvetia was an agricultural and trading colony and the place where gold was first found which sparked off the California gold rush. 'That's When Everybody Gets Hurt' is built around its drum pattern and bass riff with what sounds like a choir of angels and is essentially a Pop song which wouldn't sound out of place on an A-Ha album. 'Blaze, My Northern Flame' returns us to full-on Metal, the double kick drums are back as are the sore throat vocals; it will surely be a live favourite.

This brings us to the album closer 'Everlasting Pain' which, with a running time of thirteen and a half minutes, certainly returns the listener to Prog territory. It's an epic way to end the album, almost being a power ballad with passionate vocals, an acoustic interlude halfway through leading into an emotional guitar solo to set up the big finish.

Hopefully we will get the final part of the trilogy in the next couple of years and if it's of the same calibre as this then it will be worth the wait.

Cat O'Brien

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