(c) 2024 Roxx Records
- Atomic Dragon
- Heavenly Realms
- The Landing
- Future World
- Beyond The Valley
- Ode To The King
- G.P.S.
- Orion
- The Journey Home
Kevin Pike--All Lead and Rhythm Guitars
Timothy Gaines--Bass
Arnaud Krakowka--Drums
It was not that long ago when Arsenal guitarist, Kevin Pike, unleashed his debut solo instrumental album, Guitar Graffiti, upon us. Enlisting the aid of longtime Stryper bass player, Timothy Gaines, and drummer, Arnaud Krakowka, Pike delivered an EP of insane speed, technical virtuosity, and melodic textures that I had not encountered in quite some time. As a huge fan of the old Shrapnel Records shred albums, it was a pleasant surprise, to say the least, to hear a player weave the type of musical magic that Pike did on that first all-too-short effort. Now, less than 18 months later, Pike has returned to blaze his way into your soul once again with his new full-length release, Heavenly Realms.
Picking up right where he left off, Pike sets out immediately to lead you on a musical voyage filled with twists and turns as he varies speeds, sounds, techniques, and styles. Once again completely devoid of vocals, Pike's guitars get to do all the singing on the album, and there is plenty these songs have to say!
"Atomic Dragon" kicks things off in magnificent fashion, as it is a spectacular opener that really sets the tone for the adventure that unfolds here. Melodic flourishes burst from the strings, conjuring up images of bursts of flame erupting from the scaled beast, as it takes flight, charging along the path charted by the extended solo Pike lays out here. Swift and powerful, the dragon charges forth, his roar erupting from the talk box Pike employs at about the 2:40 mark of the track, only to turn and frantically fly away as the track closes.
The title track, "Heavenly Realms," is up next, with its bold, anthemic delivery that at times evokes early Shrapnel-era Marty Friedman, especially in the note-density on display during the tracks frenzied solo! A flurry of notes just screams from the frets before suddenly backing off, allowing a more laid back, melodic style to interject itself before returning to the opening riff and pattern of the track. Excellent stuff that fuses speed metal with some jazz influences near the middle.
"The Landing" is one of my favorites here, despite it's brevity (just a hair over 2 minutes on the clock). This is exactly the type of track that frequently served as a mood changer on older shred albums, as it is just Pike and his guitar...no drums or bass to build upon. Pike's skills are on full display here as he weaves his way through this composition with insane fluidity and dexterity.
As I mentioned, "The Landing" serves as a mood changer here, as it sets the stage for "Future World," a bold track that serves two masters at the same time for me, as Pike sets the song up with incredibly intricate acoustic Spanish guitar (which I have admitted I am a sucker for!), only to plug in, and then rip into some fantastically clean and precise fret runs that both scream and soar. Featured on the Roxx compilation Preachers Of The Underground Vol. 2, "Future World" is a great track on which to explore two starkly different sides of Pike's playing melded together perfectly.
"Beyond The Valley" is another of my favorites, as the entire track is comprised of the intricate acoustic Spanish guitar that "Future World" teases in its intro. I could listen to an entire album of Pike performing this type of music, as he has a real feel for the complex patterns that are woven into the acoustic tapestry of this type of playing. No fretboard squeaks or squawks can be found in this cleanly performed piece that evokes memories of a time, and musical style, that has largely passed. I always find myself in awe of players who can work in this style with such nimble dexterity and speed, while still managing to remain clear in tone and clean in presentation. Breathtakingly brilliant, "Beyond the Valley" is a perfect example of deceptively difficult style to play which is made to sound simplistic by a player of Pike's talent.
"Ode To The King" keeps things amplified throughout, and while speedy in all the right places, it is a very smooth, very majestic sounding song, not a frantic headbanger. The same can be said for it's follow-up, the fun "G.P.S." which maps a seemingly simplistic musical course with its basic line, only to take you off the beaten path with several rapid-fire fret runs and an extended solo that seems to take you on a musical road that is nowhere near the chart you had originally plotted. And just like an off-road trip you didn't plan to take, you don't know quite how you ended up on the road you traveled, but you absolutely enjoyed the crazy ride!
"Orion" is another short musical interlude of just Pike and his guitar, with him once again leaning on the acoustic, Spanish style that he obviously enjoys playing. The shortest track here, "Orion" is a beautiful transition piece that sets up the final, full-powered run of "The Journey Home," another speedy, yet surprisingly smooth, melodic fret melter that shifts tempos a couple of times, drops a false ending on you at about the 1:45 mark, and has a big crescendo build leading into the final extended solo that runs the track to its fade out, setting the stage for the album to wrap around and replay itself, almost without missing a beat.
Gaines' and Krakowka provide a solid backbone structure for Pike to assemble these songs upon, with both seemingly aware of their role here. That being said, it is not that either is restrained in any manner in their performances, rather it is understood that the guitars here are the driving force and are given the full opportunity to shine front and center.
Every bit the musical equal to Guitar Graffiti, Heavenly Realms is jam packed with musical skill and impassioned playing that simply isn't heard often enough in the rock and metal world today. Again, instrumental music may not be what everyone turns to on a regular basis, but when it is performed at this level, with this amount of emotion poured into playing, as well as the structure and composition, it is a style that is well worth giving a listen. Kudos to Roxx Records for giving a talent such as Kevin Pike's a canvas on which to display his sonic art. Speaking of art, check out the fantastic cover work provided by Rafael Tavares Gripp, which I feel could also fit the "Future World" concept, as well as the Heavenly Realms name.
Rating: Definitely crankable, and a step above it's predecessor. Turn this one up to an 8.5!
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