Enemies Of Reality
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And so Nevermore let loose upon the world their sixth studio release. Featuring the same four guys that recorded the self titled release Nevermore, now eight years ago. Enemies of Reality hits like an 6.9 earthquake, from the opening rumbles of the first and title track to the churning final track…the listener feels the after shocks well up to the next listen. Leveling in ferocity, complexity and brutally infectious moments of jagged brilliance throughout, this release takes all the strides, high and low they have made as musicians and picks up where Politics of Ecstasy left off.

Where Dreaming Neon Black and Dead Heart in a Dead World saw this far from Power Metal (what the hell is wrong with you kids, pull the Rhapsody records out of your asses whoever you are that keep trying to pigeonhole these guys in the Power Metal category, that tag never fit and surely as evident by this release never will, get over it) outfit writing and playing in a majority of songs that in comparison, are contemporary, radio play viable, standard fare for what would have been Headbanger’s ball material during the late eighties. Those albums, as noteworthy as they truly are and unworthy of the aforementioned comparison, are but stepping-stones to what they have managed to unleash and transcend upon with Enemies of Reality.

Warrel has somehow managed the impossibly unlikable task of outdoing himself with the vocal arrangements present, particularly the stunningly rendered choruses running the gamut between tortured and haunting to majestic and lofty. They are truly the creative sacrifice of a deeply visionary and insightful mind and soul. With this release Warrel separates the vocalists from all the would-be vocalists so readily found across the face of the planet. The effects of which will dig into your mind and refuse to leave long after his voice ends.

I’ll be brutally honest and admit my favorite aspect of Nevermore has always been their mellow side, the ballads, (and I am far from a ballad kind of dude, or at least my Music collection would leave no doubt in your mind that I’m a brutal old school extreme Metal dude) and haunting moments, particularly those found on DHIADW and In Memory…those types of songs have almost vanished this release if not for their rearrangement and dissection, they bear more subtle appearances in parts of individual tracks, to surface throughout the material in the most obscurely clever of moments. They interweave with the heavy thundering moments perfectly

Lastly, but not least I would not be doing this album justice to leave out the attention to detail and ability found in Jeff Loomis’s rhythm and solo guitar work; the riffing that absolutely shreds with abandon throughout like a serpent playing with it’s food. Jeff does not simply shred, it’s more like an attack with nearly every solo and opening riff it’s like listening to qualifying rounds for a quarter mile drag…green light GO! Don’t look back, pedal to the metal, billows of smoke. And it’s not that the guitar riffing is overly technical or abundant, they are quite the opposite; in your face, short but sweet, crisp, vibrant and assaulting.

My only complaint of the whole album is some of the effects and digital moments found in the opening seconds, outro and track Noumenon. They’re distracting from the musicianship and flow of the album, other than that, this release is a blade of razor sharp steel. A fine addition to Nevermore’s legacy as a uncompromising entity of dedication and craftsmanship proving their reputation as one of the more unique purveyors of Metal to be praised as interesting while indefinable, a sound between post-thrash, traditional Heavy Metal and something entirely else.