Promo

One-man projects are usually the domain of the would-be black metal visionary than of a good old-fashioned heavy metaller, but this promo CD from the new Swedish band Gallows End is just that.

Recording the entire thing himself, as well as taking care of all production duties, Thord Klarström shows no sign of being slowed down by the amount of tasks he has had to perform, and the three tracks he has recorded bode very well indeed for the upcoming full-length debut for which he has eventually managed to find and maintain a fully operating four-piece line-up..

The first thing that really stands out is how well recorded the whole thing is, sounding more like three songs pulled from a proper album rather than a rough demo, and Klarström’s experience and talent in the studio is obvious. The guitar tone is thick and chunky, with a razor sharp edge absent in a lot of recent Swedish power metal, and is a cut above what would normally be heard on a self-release. Whether the drums are programmed or actually played is unknown to me, but the varied and lively beats are impressive either way and add further admiration to either Klarström’s studio expertise or talent as an all-round musician.

No matter how shiny the production is though, it is the power of the songs on the promo that really stand out. The opening track, The Unborn Flag is a minor miracle of a song, encapsulating nearly everything good and proper about 80s-style power metal. If the band go on to make it big, I’d have no problem imaging this one as the set-closing fan favourite – its speedy riffs are vibrant and catchy, and the lead playing really is scintillating. Klarström throws a bit of a curveball (if I can be permitted to use such an Americanism) with the chorus, which is actually comparatively downbeat and sung over an unexpected thrashy riff, but it does the song no damage and shows a bit of imagination when the more typical approach would no doubt have been easier. His vocal performance on the verses is also very forceful and knits together perfectly with the empowering lyrics.

For those that demand soaring choruses, they need only the patience to get to the third and last track, Kingdom of the Damned, which is the same sort of pounding, harmony-laced speedster as the opener, but with a massively infectious sing-along as its centrepiece and a perfect closing track even for such a short recording.

The slower middle track, Set the World in Flames, is a little different to its counterparts, being less complex and more vocally-driven. Klarström’s gritty voice is a perfect fit for the slow gallop of the main riff, and enriches the song with a strong vibe of passion and sincerity. Whether they can write a good mid-tempo song is often make or break for a band, as dazzling your audience with speed and flashy guitar antics can only get you so far, so Gallows End also seem to have the potential for a bit of variety and longevity if this sort of fist-pumping anthem is any sort of indicator of what can be expected from them in years to come.

Having also had the good fortune to hear rough mixes of two more of the upcoming songs from the full-length, it sounds as though Gallows End have plenty more in the tank, and this demo doesn’t look like a flash in the pan. With five songs of such quality already assured, I’ll be very disappointed if their debut album isn’t a contender for the best of 2010.

(Originally written for http://www.rockontheweb.co.uk/)