Chariots of the Gods - Tides of War (Own Label)

Splendid stuff from a young Canadian troupe that would appear to have all the tricks...
Release Date: 
28 Jan 2013 - 11:30pm

 

Ottawa natives Chariots of the Gods deliver a hard-hitting brand of modern metal that you’ll either love or hate;  Me? I love their coruscating mix of Maidenesque harmonies (have a listen to the awesome Blind Assassin and tell me you ain’t impressed) with brutal yet accessible vocalising, but I suggest many of you out there of a similar vintage to myself might have a bit of a problem with some of the material on offer here.

That bit of fridge door work out of the way, there’s not much else to do but sit back and enjoy the record. Sumptuously produced by Glen Robinson,  the band has stopped at nothing to present you with a record that screams BIG TIME OUTFIT! at you from the minute the needle hits the groove. Sure, elements of Ambrosian Wings will have you thinking ‘I’ve heard this before’, but CotG attack the task at hand with enough elan to have you forgiving them the odd generic moment here and there. This is heavy metal after all, and it’s a tale worth retelling, so who really gives two hoots if some of the tale is getting rather more than the odd retread? When its done this well, not I sir...

Perhaps the best thing about Chariots… is that they don’t mess about. There is nothing on Tides of War over six and a half minutes long (and even that is just the one song, the super thrashy Collapse of an Empire), yet they still manage to pack in a hell of a lot of metal action into each and every sonic maelstrom. Take the enthralling Revillusion (1905) for instance. In a mere four and a half minutes flat it starts placidly, fires up, gets anthemic, throws in some exciting double lead work, gets anthemic again, and then goes home for its tea before you’ve even had time to absorb what’s going on. No noodling, no flatulence – just prime, razorwire riff mayhem.

This is good, because it means you’ll want to revisit the song over and over again so you don’t miss a moment of Mathieu St-Amour and Dimitri Gervais’ stunningly entwined rifferama  (in fact there’s a more than even chance you’ll keep wanting to revisit this entire album regularly once you’ve made first contact)  or indeed vocalist Renaud Jobin’s deranged barking.  But whatever the reason, this is an album that’s certainly worth repeated exposure  in your neck of the woods over the next couple of months.