Beyond the Void

Ottawan one-man workhorse Ice War has undergone a veritable renaissance, with Jo Capitalicide-turned-Steel tightening the nuts and bolts on his singular craft, as May's Beyond The Void, his sixth full-length in about as many years since inception in 2015, triumphs by way of heightened melody, fine-tuned songcraft, more confidant vocals and distinctively enhanced production level, of which whole compliment of factors gives impression we're actually hearing a standardized, three or four member line-up as opposed to lone, valiant defender of Indigenous rights, up here yonder above the 49th parallel (safe from lethal, albeit so-called "unpreventable", randomized gunfire on behalf of heavily armed human development gone askew).

On this salient instalment, synths are kept to a minimum, except for epically Oath styled "One Chance" and closer "Farewell" briefly indulging such atmospheric caprice. Hard-driven, knuckle-dusting dirges are the order of the twilight, with only doomier, Black Sabbath-y "Nightwings" intro straying from said thumb rule. The first three songs alone do a great job of convincing, insofar as elevated interest and manoeuvring go, beginning to rip-some "Unceded Unconquered", a pinched harmonic riffed and spastically drummed, road rash inducing asphalt burner on which Jo's languidly crooned backing chants lend a frozen hand (there's even an abrupt, little drum solo in the middle). Then, "Beyond The Void" proper harks greatly to Jake E. Lee era Ozzy Osbourne thanks to both Jo's razor keen, heliotropic riffing and decidedly Ozzy-like and wan, prophetic delivery.

Remarkably, in no manner is Beyond The Void front loaded, as, following switchback speed and gainful master clout of "Nightwings" (a wicked band name in its own right), a slew of indispensable zingers ensues. On each, Jo demonstrates newfound, thrilling techniques; his charming trill becomes a signature move, whilst shrilly piercing solos permeate the frigid (l)air. Elsewhere, a noticeably "Holy Diver" type tritone riff commencing "The Strike" yields omega - as opposed to alpha, sigma or zeta - borne intricacy and depth, also wafting indelibly classic Dream Theater, Iron Maiden and perhaps even Gamma Ray-ish vibes, much to this Western minstrel's deference and intrigue.

A further harmonically tweaked "Hungry And Cold" lyrically brings to vacuumed mind Midas' recent, as well as equally glacial "Eyes In The Cold" piece of zoological crypticism. For its unconsecrated part, "Unmarked Grave"'s militant pace and refrain exist as throwback to Ice War's earlier, oft scorned climes. The zany, tremolo'd-to-Churchill and beyond "Murderer" poses no anodyne risk, whence a sweaty and wild, blackened Gwar evoking current of punky rashness mixed with triplet based traditionalism gallops headlong towards final hit paraded pair in "No Future" and above alluded "Farewell". The former ups the ante due to cathartically ringing guitar crescendo which presages cut and dry, yet freshly arisen tidings for our Canadian troubadour.

"Adios" wraps this up with Rambo's vengeance bow, liberal "jacques dans la boîte" leads, aside. (It also gives Enforcer's version a run for its moolah.) Indeed, Jo's Ice War has rocketed from nebbish, waylaid underdog to strikingly poised hero-conqueror!