Successfully bridging the gap between power metal and straight forward heavy metal, Kiuas play a heady mixture of styles with driving solos and melodic vocals going head to head with a darker vocal style and chugging riffs which sees the band come across as a cross between Dragonforce and Metallica.
Opening track Kiuassault sets out the band’s stall in grand style – a pile-driving anthem which nonetheless pales in comparison to the frankly excellent ‘Cry little angel’ which is a determined, anthemic statement of intent complete with sing-along chorus and gloriously gutsy solos. The lengthily-titled ‘of love, lust and human nature’ maintains this anthemic feel with a heavily orchestral element augmenting the hefty grind and chug of the guitars. It’s a bold track with plenty of neo-classical elements sitting alongside a whispered vocal that briefly comes across like a quieter cradle of filth moment before the track explodes into a full on heavy metal extravaganza with pretty much everything but the kitchen sink thrown in. It is typical of the musically generous approach that Kiuas take with the album as a whole but more than that it’s wondrous that the band have the skill to make it work without sounding muddled.
‘Aftermath’ is a more straight forward number that thrashes away in a similar vein to label-mates Children of Bodom but with a less aggressive vocal style. It houses a truly awesome mid-section which is one of the heaviest elements of the album and which has a real fists in the air feel. ‘Lights are many’ by contrast is a well-written and played power ballad that doesn’t induce nausea and which showcases a more sensitive side to the band. ‘The visionary’ opens with an ominous orchestral passage before the guitars come bursting in with power and precision. It’s a track which houses an epic feel – a heavy-metal tribute to the Lord of the rings soundtrack kind of feel that would undoubtedly sound massive if performed with a real orchestra on stage and which is suitably ambitious and grandiose here. ‘Heart and will’ struggles to live up to the lofty goals set by the previous track but still has a damn good stab at it, with a nice solo opening the song and powerful vocals keeping the momentum. ‘The quickening’ opens as a ballad but then slips into sub-Iron-maiden territory. It’s less successful than the previous ballad sounding somewhat uncomfortably like a cross between maiden and within temptation. Of all the tracks here it is the least successful because it is the most derivative and whiole it has a catchy melody the band have so much more to offer than this conventional cut. ‘Summer’s end’ makes up for this by being a stunning, acoustic led track that is folky, yet modern at the same time. It’s a beautiful piece of music. The final track, ‘Winter’s sting’ finishes with a flourish of the band’s best elements and leaves you on a high and ready for more.
Overall this is an excellent album that suffers on only one track and generally offers an exciting, ambitious ride. The music is well written and exquisitely performed and there’s a genuine feeling of excitement that accompanies most of these chest-beating epics that can’t be denied. Thoroughly recommended this is a metal album that will sit proudly on your shelf amidst a host of classic acts form Maiden through to Metallica.
