The countdown is officially on to the end of the aging year and the start of the new year. While 2021 is winding down, it is not yet over. That means that there is still plenty of new music on the way before the year ends, including The Three Tremors’ sophomore album, Guardians of the Void. The 12-song record is scheduled for release Friday through Steel Cartel and will come a little more than two years after the release of the band’s debut self-titled album. The record, which comes in at just under an hour (59 minutes to be exact), is everything that audiences have come to expect from the band and its famed front men – Sean Peck, Harry Conklin, and Tim “Ripper” Owens. That is due in part to the album’s featured musical arrangements, which will be discussed shortly. While the musical arrangements make for plenty of appeal, they also cause a little bit of a problem thanks to their production. This will be addressed a little later. The record’s lyrical themes work with their counterpart musical arrangements to make the album more appealing. Keeping that in mind along with the concerns raised through the record’s production, the whole still leaves Guardians of the Void a mostly successful new offering from The Three Tremors.
The Three Tremors’ forthcoming sophomore album, Guardians of the Void is a mostly positive new offering from the trio and their fellow musicians. The record’s success comes largely through its featured musical arrangements. The arrangements in question are everything that audiences have come to expect from the group (including its three famed front men). The familiar old school metal sounds and stylistic approaches are there through most of the record. Right from the album’s outset, ‘Bone Breaker’ (which is also the album’s lead single), audiences get that old school vibe through the guitars and the powerhouse vocals from the Peck, Conklin, and Owens. The rich guitars, bass, and heavy drums work with the operatic (and at times screaming) vocals for a sound that is immediately comparable to works from Judas Priest. The album’s title track, which immediately follows, is something of an old school thrash metal style composition a la Anthrax. That pairs with the more familiar operatic Judas Priest style vocals for a whole that is truly its own unique presentation. Audiences looking for even more need look no further than the album’s last two tracks, ‘The Fall of Rome’ and ‘War of Nations.’ Yet again, the familiar vintage power metal influence is clear in each song. At the same time, there is a certain subtlety in the songs’ guitar lines and drumming that believe it or not is somewhat comparable to works from the likes of Amon Amarth. Such comparison comes through the richness in the sound of the guitar, bass, and drums, and the driving approach taken through each. The blending of those influences makes the arrangements even more proof of the engagement and entertainment that the album’s overall musical content offers audiences. The whole of the record’s musical arrangements is in itself reason enough for audiences to hear this new offering from The Three Tremors and to put their horns high in pride.
There is no question that the musical content featured in Guardians of the Void builds a mostly firm foundation for the album. While the arrangements are engaging and entertaining, they are not perfect. Maybe it is just the playback on this critic’s devices, but there are various points throughout the album in which the production gets somewhat muddied. More specifically, there are points in which the vocals get washed out by the instrumentation. ‘Chained to the Oar’ and ‘Catastrophe’ are prime examples of that concern. There are points in each song when it seems like the vocals and instrumentations are at the exact same levels. The result is that the two sides meld together a little too much, thus detracting from their enjoyment to a point. It is even more evident (again at least to this critic) in ‘Wickedness and Sin.’ It just seems that there are points in this song, too, in which that balance is…well…unbalanced to the end that the music and vocals get lost in each other. These are just a few of the points in which the production proves somewhat problematic. It does cause concerns at other points in the album, too. Even with that in mind, the production is not so much of a problem that it dooms the record. It is just a minor issue that still bears mentioning. Keeping that in mind, there is still one more item to address. That item is the record’s lyrical content.
The lyrical content featured in Guardians of the Void is important to note because of its variety. This is nothing new from the band, as it approached a variety of topics in its debut album, too. In the case of this record, the band apparently pays tribute to the legacy of America’s big blue Boy Scout himself, Superman, in ‘Kryptonian Steel.’ The band takes on a much more serious matter later in the album in the search for Osama bin Laden in ‘Operation Neptune’s Trident.’ The song even incorporates audio from reports about the 9/11 attack which he helped plan. As a matter of fact, the song’s title is the name of the operation that was undertaken that eventually led to his assassination. The song pays tribute to all involved in finding and taking down the infamous terrorist leader. To that end, it will certainly prove a favorite among audiences. On a completely different note, ‘Catastrophe’ takes on war in a different fashion, this time taking on war itself from its past to its future. The mention of “rockets and lasers,” crumbling buildings, and the atom bomb along with what sounds like a mention of hellhounds leaves little question about the song’s lyrical theme. This comes across pretty clearly as an indictment of the continued desire of humans for war. This is just this critic’s interpretation. Between that, the other lyrical themes noted here and so many other diverse topics covered throughout the album, the whole of the record’s lyrical content makes for plenty more reason for audiences to hear this record. When the album’s overall lyrical themes are paired with the slightly less diverse but still enjoyable musical arrangements, the two elements together make the record a mostly successful presentation. That is even with the noted concerns about the album’s production taken into account.
The Three Tremors’ new album, Guardians of the Void, is a positive new offering from the band. It is also another strong offering for the hard rock and metal communities as 2021 begins to finally wind down. That is due in large part to its musical arrangements. The arrangements once again present plenty of familiar sounds and stylistic approaches while also incorporating something a little newer into some of the songs. The Judas Priest comparisons are obvious throughout the record, as are those to the likes of U.D.O. At the same time, fans of Amon Amarth will like the apparent influence of their music in this record, too. While the arrangements are entertaining, their production does prove at least somewhat problematic. That is because it causes the songs to get bogged down in themselves at random points through the album. Luckily, the concerns caused by the production are not enough to doom the album. They are just something of which audiences must be made aware. The record’s lyrical themes put the finishing touch to its presentation. They are more diverse than the record’s musical arrangements, much as was the case with the band’s debut album. They cover quite a bit of ground from the serious to the somewhat less serious from one to the next. When they are considered along with the engagement and entertainment ensured through the album’s musical arrangements, the two items make for even more success for Guardians of the Void. Taking those items into account with the record’s production, the whole still proves to be a mostly successful sophomore effort from The Three Tremors.
Guardians of the Void is scheduled for release Friday through Steel Cartel. More information on The Three Tremors’ new album and live dates is available along with all of the band’s latest news at:
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