There is an old adage that claims a thousand words can’t hold a candle to a single powerful picture. I am not the one to deny the impact of a compelling picture but we all know there are two sides to every story… or even three like it was etched in an underrated vinyl back in 1992. Having said that, just look at this irresistible cover somewhere below. I remember perfectly the day I was shown this awesome artwork by a very dear friend of mine. Though the name of the band is clearly visible, I was positively convinced it was a new album by a still unknown Epic Metal band. Apart from the single «Stars and Stripes», Dexter Ward has always moved in a much more sci-fi direction in visual terms so this new full-on medieval design brought a fresh excitement for «III», the bands’ album number… well, I will let you figure it out by yourselves. And, though the band stays firmly attached to their sound, these new expectations have not come totally unfounded.
Dexter Ward burst forth from the fertile european scene when guitar player Manolis Karazeris and singer Marco Concoreggi (also known as Mark Dexter in this band context) left Battleroar about 10 years ago already – time runs faster with each passing day. Coming from Athens and Venetia, respectively, it is no wonder the band is some sort of hybrid creature that mixes up the two specific scenes (with a few exceptions scattered here and there) that have been at the forefront of Epic Metal since the early 90s, at least. The substantial difference is that they are not a pure Epic Metal band, since they keep holding on to the glorious banner of US Metal. Dexter Ward possesses both the subtlety and barbarism, the elegance and the ingenuity and that makes «III» a very special album. But this time there are more than enough Epic Metal touches and small details to freshen up their very particular brand of US Metal in a record that I feel exudes a new found confidence and determination.
Though this epic side of Dexter Ward has never been that far off the band sights (we just need to remember «Return of The Longships» and «Knights of Jerusalem»), they have always opted for a more direct approach towards their brand of Heavy Metal, compared to – let’s say – Battleroar, for instance. But this time things took a much bigger turn. There are still more straightforward songs, like the medieval tale of good triumphing over evil in «Reign of The White Knight» or the opening track – and also the digital single that predated the full length – «Return of The Blades». This one is a fast song that works as a rallying cry to gather the hordes, preparing us for what is to come: “We're the horsemen in silk and Steel. We carry the flame that will never ever die”. Heavy Metal references abound that will make your heart of Steel beam with pride, whether it is the resilience that is fundamental to soldier on (“we are the knights that will never kneel”) or an oath solemnly sworn (“we’ll ride against the wind till the end”). The marching section in the bridge before the luminous guitar solo has been our drug of choice for decades in our metallic journey and the epic ending with Manowar-like choirs seals the deal before the noble proclamation: “With our swords, with our crowns we shall die, glory bound”. Not bad for a start. And the good news is the album gets even better afterwards. Take «The Dragon of The Mist» as an example of what you can find. If you do not know what Epic is take a closer look to that opening riff. Not convinced? Check out that chorus and those great guitar melodies accentuated by the emotional vocals before the solo. It screams Dexter Ward in every second.
The Good vs. Evil polarity alluded above is something the band has done throughout the two previous records but this time is a bit more abstract than before (or at the very least certainly not as blunt as in the previous album) and is used more as a metaphor to crush the evil forces in the world than an-officially sanctioned religious crusade of sorts. The best example can be found in the closing track «The Demonslayer», a classic fable that is part of our collective mythos. It’s a dark song, with a rather fiery performance of Mark Dexter, that features a faster section with subtle hints to Manilla Road due to the aggressive guitar riffing. As a counterpoint, right after that there is this eerie melody that reminds me of something Cult of Fire could pull off in their personal interpretation of Black Metal. But that is crushed in the end with a fitting rendition of the traditional French song «Les Anges Dans Nos campagnes», that you should recognize as the «Angels We Have Heard On High» Christmas carol. Still on the same subject matter, one of the best songs on «III» is the amazing «Soldiers of Light» where the more aggressive Heavy Metal epic sensibilities come forth. The rhythm section takes central stage with the drums propelling the song forward and the bass not afraid to show off. Actually, a bit of praise for John Luna Tsimas is needed, whose prowess on the bass is evident all the time. An energetic guitar solo alongside the beautiful chorus make this one of best moments on the album. Under the guise of the fight “in the name of the Lord” lies the allegiance that really matters, with the flag that unites us all, waving in the southern wind: “Our weapon, the music that’s born of true Steel. On the boards of the stage, only Metal is real”. Heavy Metal is the Light that guides our every footstep, the mailed fist that lifts us up when we falter on our way.
And speaking of union, let’s move to track number 5 and how it manages to build a bridge towards Battleroar, back when Manolis and Marco were still part of the band. 15 years later, the vocal melody in the ending of «Sword of Crom» is reimagined as the guitar line to close «Conan The Barbarian». The same lyrical universe, two different songs by two bands that are deeply connected. Assorted pseudo-Metalheads who are ready to point their venomous fingers to the Manowar lyrics that deal with the profound connection between Heavy Metal fans will never understand what this means. A true brotherhood does not come from empty gestures, rubbing each other’s backs or petty little favours led by self-centered interests. It comes from this. Standing side by side, fists held high, head in the clouds, pockets filled with dreams, come what may, leaving no one behind.
This dreamlike atmosphere is something that has been under threat for years and the power of imagination is steadily being snatched away from us, at broad daylight and right under our noses. Now in this gadgety world of ultra advanced technology we have become hostage to the power of visuals. Do we even listen to music anymore or do we watch music instead? We are creating whole generations of imagination-impaired individuals who are physically unable to pay attention to sounds and words, unless we see something shuffling on the screen. We are completely reliant on moving figurines to satiate our hunger for constant stimulus, shifting from distraction to distraction until the final oblivion. Are we babies again? Or retarded imbeciles? So, yes, sometimes a picture is worth a thousand words. Other times a word is worth a thousand pictures. More often, a song is worth both a thousand words and a thousand pictures.
I dare say most bands with solid careers fail to do so. This time Dexter Ward pull it off… twice! «The Eyes of Merlin» captures our imagination with a pilgrimage to the Arthurian legend. Centered on one of the most enigmatic characters across all folklore in the world, this song makes us feel all the contrasts, all the opposing forces in the deepest recesses of Arthur’s being. This is a song where everything is perfectly written to reach the heights in a great chorus where Arthur’s tragedy is unfurled: “Lords of the light and the legions of Chaos, Gods of the thunder and rain. Future and past, the fate of a kingdom, all in the Eyes of Merlin”. The guitar solo is not flashy, it is just what the song needs. The strength of Marco’s vocals are laid out in the open in the devotional bridge before the solo – it’s sentimental without being overindulgent, heroic but not arrogant – and is the perfect complement to something that this time will fill the dreams of all Epic Metal fans.
The second song that will have Epic Metal fans drool over abundantly is the undisputed highlight of the album, the best moment in the history of the band and surely one of the best songs of the year. Actually, it is songs like this that give meaning to life in this dystopian nightmare we have been living in for the past seven months – that guitar melody from Akis Pastras will come back to your mind over and over again. It is a deeply introspective song about what it means to be a Metalhead and the overbearing obsession that Heavy Metal truly is. It is not a musical genre like any other but the only true salvation (“I’ve traveled oh so far seeking sanctuary from the darkness of the night”) when the burden starts to weigh too heavy on your shoulders (“the pain of growing old”). A song with the particular vocal style of Marco taking you back home to your spiritual nest, armed with gleaming blades and singing swords. “Fly soldiers of light - mighty warriors!” he sings. “Fly, into the fight, reach for the stars”. Because that is the place where Heavy Metal will take you. There are no limits, our imagination is unchained – pre-formatted images be damned!
In a sense, «III» is a very nostalgic album. Don’t get me wrong. It is not in that way. We all know that nostalgia sells pretty damn well in entertainment (let me use the broader term) these days, in films or TV series and in music of course. In the mainstream, naturally, but also in the most dedicated caverns of the underground – we just need to head on to the coast and see how festivals and labels are surfing the sugary waves on Memberberries Sea. Dexter Ward for sure are not trying to rehash some magic formula that existed in the 80s, nor this album is trying to emulate the foregone classics of the genre. The year is 2020, we are all mostly old farts by now, it’s a meaningless task destined for failure. «III» is nostalgic because it appeals to our sense of wonder, first and foremost, our capacity to dream of a better future, our abilities to forge a better, healthier Heavy Metal scene. It is high time we stop this charade of pretending we are spoiled little brats again. Our hair won’t miraculously grow back again and our old high school girlfriends will never take us back. We need to let it go and live now. Fight now. Heavy Metal is not entertainment. Heavy Metal is war! Make no mistake. Have no doubts about it. And in this bogus world of fake images and virtual existences real Heavy Metal is the only thing that makes any sense. In allegiance, now and forever. Brothers and sisters united, NOW, in the days of Epic Metal.
Though this epic side of Dexter Ward has never been that far off the band sights (we just need to remember «Return of The Longships» and «Knights of Jerusalem»), they have always opted for a more direct approach towards their brand of Heavy Metal, compared to – let’s say – Battleroar, for instance. But this time things took a much bigger turn. There are still more straightforward songs, like the medieval tale of good triumphing over evil in «Reign of The White Knight» or the opening track – and also the digital single that predated the full length – «Return of The Blades». This one is a fast song that works as a rallying cry to gather the hordes, preparing us for what is to come: “We're the horsemen in silk and Steel. We carry the flame that will never ever die”. Heavy Metal references abound that will make your heart of Steel beam with pride, whether it is the resilience that is fundamental to soldier on (“we are the knights that will never kneel”) or an oath solemnly sworn (“we’ll ride against the wind till the end”). The marching section in the bridge before the luminous guitar solo has been our drug of choice for decades in our metallic journey and the epic ending with Manowar-like choirs seals the deal before the noble proclamation: “With our swords, with our crowns we shall die, glory bound”. Not bad for a start. And the good news is the album gets even better afterwards. Take «The Dragon of The Mist» as an example of what you can find. If you do not know what Epic is take a closer look to that opening riff. Not convinced? Check out that chorus and those great guitar melodies accentuated by the emotional vocals before the solo. It screams Dexter Ward in every second.
The Good vs. Evil polarity alluded above is something the band has done throughout the two previous records but this time is a bit more abstract than before (or at the very least certainly not as blunt as in the previous album) and is used more as a metaphor to crush the evil forces in the world than an-officially sanctioned religious crusade of sorts. The best example can be found in the closing track «The Demonslayer», a classic fable that is part of our collective mythos. It’s a dark song, with a rather fiery performance of Mark Dexter, that features a faster section with subtle hints to Manilla Road due to the aggressive guitar riffing. As a counterpoint, right after that there is this eerie melody that reminds me of something Cult of Fire could pull off in their personal interpretation of Black Metal. But that is crushed in the end with a fitting rendition of the traditional French song «Les Anges Dans Nos campagnes», that you should recognize as the «Angels We Have Heard On High» Christmas carol. Still on the same subject matter, one of the best songs on «III» is the amazing «Soldiers of Light» where the more aggressive Heavy Metal epic sensibilities come forth. The rhythm section takes central stage with the drums propelling the song forward and the bass not afraid to show off. Actually, a bit of praise for John Luna Tsimas is needed, whose prowess on the bass is evident all the time. An energetic guitar solo alongside the beautiful chorus make this one of best moments on the album. Under the guise of the fight “in the name of the Lord” lies the allegiance that really matters, with the flag that unites us all, waving in the southern wind: “Our weapon, the music that’s born of true Steel. On the boards of the stage, only Metal is real”. Heavy Metal is the Light that guides our every footstep, the mailed fist that lifts us up when we falter on our way.
And speaking of union, let’s move to track number 5 and how it manages to build a bridge towards Battleroar, back when Manolis and Marco were still part of the band. 15 years later, the vocal melody in the ending of «Sword of Crom» is reimagined as the guitar line to close «Conan The Barbarian». The same lyrical universe, two different songs by two bands that are deeply connected. Assorted pseudo-Metalheads who are ready to point their venomous fingers to the Manowar lyrics that deal with the profound connection between Heavy Metal fans will never understand what this means. A true brotherhood does not come from empty gestures, rubbing each other’s backs or petty little favours led by self-centered interests. It comes from this. Standing side by side, fists held high, head in the clouds, pockets filled with dreams, come what may, leaving no one behind.
This dreamlike atmosphere is something that has been under threat for years and the power of imagination is steadily being snatched away from us, at broad daylight and right under our noses. Now in this gadgety world of ultra advanced technology we have become hostage to the power of visuals. Do we even listen to music anymore or do we watch music instead? We are creating whole generations of imagination-impaired individuals who are physically unable to pay attention to sounds and words, unless we see something shuffling on the screen. We are completely reliant on moving figurines to satiate our hunger for constant stimulus, shifting from distraction to distraction until the final oblivion. Are we babies again? Or retarded imbeciles? So, yes, sometimes a picture is worth a thousand words. Other times a word is worth a thousand pictures. More often, a song is worth both a thousand words and a thousand pictures.
I dare say most bands with solid careers fail to do so. This time Dexter Ward pull it off… twice! «The Eyes of Merlin» captures our imagination with a pilgrimage to the Arthurian legend. Centered on one of the most enigmatic characters across all folklore in the world, this song makes us feel all the contrasts, all the opposing forces in the deepest recesses of Arthur’s being. This is a song where everything is perfectly written to reach the heights in a great chorus where Arthur’s tragedy is unfurled: “Lords of the light and the legions of Chaos, Gods of the thunder and rain. Future and past, the fate of a kingdom, all in the Eyes of Merlin”. The guitar solo is not flashy, it is just what the song needs. The strength of Marco’s vocals are laid out in the open in the devotional bridge before the solo – it’s sentimental without being overindulgent, heroic but not arrogant – and is the perfect complement to something that this time will fill the dreams of all Epic Metal fans.
The second song that will have Epic Metal fans drool over abundantly is the undisputed highlight of the album, the best moment in the history of the band and surely one of the best songs of the year. Actually, it is songs like this that give meaning to life in this dystopian nightmare we have been living in for the past seven months – that guitar melody from Akis Pastras will come back to your mind over and over again. It is a deeply introspective song about what it means to be a Metalhead and the overbearing obsession that Heavy Metal truly is. It is not a musical genre like any other but the only true salvation (“I’ve traveled oh so far seeking sanctuary from the darkness of the night”) when the burden starts to weigh too heavy on your shoulders (“the pain of growing old”). A song with the particular vocal style of Marco taking you back home to your spiritual nest, armed with gleaming blades and singing swords. “Fly soldiers of light - mighty warriors!” he sings. “Fly, into the fight, reach for the stars”. Because that is the place where Heavy Metal will take you. There are no limits, our imagination is unchained – pre-formatted images be damned!
In a sense, «III» is a very nostalgic album. Don’t get me wrong. It is not in that way. We all know that nostalgia sells pretty damn well in entertainment (let me use the broader term) these days, in films or TV series and in music of course. In the mainstream, naturally, but also in the most dedicated caverns of the underground – we just need to head on to the coast and see how festivals and labels are surfing the sugary waves on Memberberries Sea. Dexter Ward for sure are not trying to rehash some magic formula that existed in the 80s, nor this album is trying to emulate the foregone classics of the genre. The year is 2020, we are all mostly old farts by now, it’s a meaningless task destined for failure. «III» is nostalgic because it appeals to our sense of wonder, first and foremost, our capacity to dream of a better future, our abilities to forge a better, healthier Heavy Metal scene. It is high time we stop this charade of pretending we are spoiled little brats again. Our hair won’t miraculously grow back again and our old high school girlfriends will never take us back. We need to let it go and live now. Fight now. Heavy Metal is not entertainment. Heavy Metal is war! Make no mistake. Have no doubts about it. And in this bogus world of fake images and virtual existences real Heavy Metal is the only thing that makes any sense. In allegiance, now and forever. Brothers and sisters united, NOW, in the days of Epic Metal.