Pharaoh Power Reviews United States 2023 Price - Does it really works & Where to Buy

Pharaoh Power Reviews United States 2023 Price - There’s a common idea that the NWoTHM for the most part was the second coming of classic ’80s metal styles, primarily of the NWoBHM and its immediate descendants, and that we mostly owe it to bands like 3 Inches of Blood, Enforcer, Alpha Tiger, White Wizzard and so on for the second wind of what many believed was an extinct style (as opposed to a wide umbrella encompassing more than we can name). This of course falls apart if you actually dig deeper into metal as a whole past whatever golden age record labels, tastemakers, and hype-makers are telling you is coming back. Another misconception that follows in its wake is that these styles are essentially finished projects with not much if anything left to offer in terms of growth or idiosyncrasy which falls just as flat after a bit of snooping around the less glamorous corners of an increasingly commercialized genre.

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Not much as it turns out. The same blueprint is in effect, though at times there’s a slight tilt toward Symphony X-styled prog-power, and I hear a bit more of Dawnbringer’s retro sound lurking just below the surface. The opening title track has the classic Pharaoh sound but the arrangements hint at New Jersey’s greatest prog-metal band. It’s an adrenaline-charged ditty with a wealth of crunchy riffs, soaring leads and commanding vocals and I like it, but it’s not quite up to the standards set by the band’s past outings. “Will We Rise” course corrects quickly, with a hyper-urgent, extra punchy battle hymn featuring scads of glorious guitar work and powerhouse vocals. It fuses the classic Maiden gallop into a hyper-technical foundation of slick riffing and insane solo flourishes and it works a charm. Better still is the grim mood piece “Waiting to Drown,” which is like a marriage of Johnny Cash-style darkness to Nevermore’s dour theatrics. Witherfall attempted something similar on their recent album with the song “The River,” but this puts it to absolute shame. It’s a short piece, but it broods and bleeds more over it’s brief run than most 7-9 minute monstrosities could. In contrast, the harder “Lost in the Waves” builds gradually to an excellently epic chorus that will stick deep in your brain pocket.

The album settles into a groove as it rolls along, with a lot of the best stuff coming on the back half. One of my favorite moments is “Freedom” with it’s upbeat, mega-macho tale of fighting for freedom and liberty against all odds. If you spin this one and don’t get yourself a weapon with which to defend your independence, you are a sheep. Hell, there’s even a jaunty Running Wild-style riff phrase to enhance the throat cutting and Jolly Roger-ing. “Dying Sun” surprises with its combination of Nevermore-esque darkness and a noticeable Tad Morose feel to the writing and I really love the combination. While no songs fully stumble, the aforementioned title track isn’t as good as I expect from Pharaoh, and closer “I Can Hear Them,” though better, isn’t quite as exciting as the surrounding material, though it does grow with exposure. At 44 minutes, The Powers That Be is the ideal length and a very easy, engaging spin full of gripping performances by all involved. The tracks are reasonably trim and tight as well. The production suits the style, with Chris Black’s drums sounding thunderous and Tim Aymar’s vocals commanding centerstage without minimizing the phenomenal guitar-work from Matt Johnsen (Dawnbringer, Superchrist).

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At the outset, the idleness didn’t really stir undue concern, by reason of the band’s recognized patience and habit of radio silence. But as the years continued to tick by, and even amidst an unexpected resurgence of bands from every corner of the globe rekindling and redeveloping classic US power metal, the Pharaoh coffers remained shut. Aymar eventually packed up and moved; Chris Black became more active with his other projects (High Spirits, Dawnbringer and Aktor); and Johnsen and Kerns… well, they never really seemed terribly concerned with sashaying into the public eye.
But favorable clues did drop. The Metal Archives “Active” green battle light never switched status to defcon “On hold” yellow, nebulous “Unknown” orange, or—GASP—emergency “Split-up” red; Professor Black and the Pharaoh FB page occasionally hinted at stirrings when asked directly; and finally, in the middle of 2017, an album title was revealed.

Then, more quiet. Three additional long years of quiet fueled by political unrest and pandemic bedlam. Aymar lended his talents to local acts so underground even Dig Dug had trouble finding him; Professor Black focused on selling records and the initiation of the Bathory book with Kola Krauze; and Johnsen and Kerns… well, you know.
Then, at the end of 2020, truly concrete news regarding The Powers That Be officially landed. The album cover was the first thing to drop—as is law in the heavy metal sphere—which, to be perfectly honest, stirred its own bit of worry with the way it harkened back to After the Fire’s rather primitive “Netscape 7” glow. With that came the remote concern that life & times might have done their work to tarnish the Pharaoh radiance, particularly considering the truth that it’s been a decade since most of us heard a riff or a single new note from guitarist Matt Johnsen.

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