Armor of Light

Riot are back in shining armor. Well, Riot V, to be precise, but to me and an estimated 99.9 percent of the metal world, these are still the same old Riot: American metal pioneers that gave us classics such as, among others, Narita, Fire Down Under and, of course, Thundersteel. Since “changing” their name to Riot V (well, duh) following the untimely demise of founding member Mark Reale, Armor of Light is the band’s second full-length effort and, just like its predecessor, once again shows the lads in great shape.

Coming out thirty years after the phenomenal Thundersteel, which is arguably one the best metal albums ever created on U.S. soil, Armor of Light borrows heavily from said classic, at least during the record’s first half or so. “Messiah” is pretty much “Thundersteel” 2.0 and speedy, double-bass driven tracks like “Victory”, “Heart of a Lion” (in honor of medieval English king Richard the Lionheart) or “Armor of Light” follow suit in similar fashion. The soaring falsetto vocals, the chord progressions, the melodies, the blistering solos, the turbo-charged drums – everything sounds familiar yet far from tired or rehashed.

Armor of Light isn’t all Thundersteel worship, however. It also contains elements from other works in Riot’s extensive discography. Take the stomping “Caught in the Witches Eye”, for instance, featuring a subtle horn section the likes of which haven’t graced a Riot album since 1990’s The Privilege of Power. Other more hard-rock flavored tracks are the driving “San Antonio”, an ode to the band’s adopted home town, as well as “Burn the Daylight” and “Ready to Shine”. If I had to make a comparison, both tracks are reminiscent of the highly underrated Inishmore album, with the former recalling that record’s faster cuts (like “The Man” or “Should I Run”) and “Ready to Shine” feeling like a close relative to “Watching the Signs”. “Angel's Thunder, Devil's Reign” is a fast-charging, feel-good heavy metal anthem with gasoline-propelled lyrics rivaling some of Manowar’s most self-referential poetic outpour. “Set the World Alight”, despite its more serious lyrical subject matter, is the album’s most laid-back tune. It has a rather introspective feel but is still heavy enough to not qualify as a ballad. Last but certainly not least, Riot treat us to their heaviest and most aggressive tune in quite some time (and maybe ever), as “Raining Fire” brings us belligerent and unadulterated speed metal bordering on thrash.

As indicated previously, the band’s musical delivery is flawless. Singer Todd Michael Hall is the best thing that could have happened to Riot and a big reason for their newfound success. Not to be outdone, the guitar duo of long-standing member Mike Flyntz and relative newbie Nick Lee churns out crunchy riffs, harmonic leads and sizzling solos by the boatload. Don Van Stavern is a skilled and experienced bassist, even though the bass could have been featured a bit more prominently in the mix, and Frank Gilchriest is an animal behind the drum kit.

Unfortunately, the latter brings me to some of the minor chinks in this armor of light. The biggest among them is the way the album is produced and/or mixed, in particular with regard to the drums, which, oddly enough, sound excessively triggered and therefore artificial. The bass drums are obnoxiously loud and mixed to the forefront, and everything seems just a little too clean and perfect. When you have a more than capable human drummer, why on earth would you want to make him sound like a cyborg on steroids? Moreover, it’s not just the drums that are too clinical, as the whole production is kind of sterile and would have benefited greatly from a more natural, gritty, old-school approach.

Another negative aspect is the album’s over-reliance on musical and lyrical clichés, as well as its overall upbeat, happy vibe, which tends to get a bit tiresome over a running time of close to an hour. While some have dubbed this Riot’s version of Euro power metal, I wouldn’t go quite that far, yet the fact remains that Armor of Light has a slightly corny side to it. Even an otherwise awesome track like “End of the World” radiates an almost cheerful, boisterous mood that’s in sharp contrast to its darker lyrical theme.

Summarily, Armor of Light is not without some minor flaws, but thanks to expert songwriting – not every track is a masterpiece, yet there are no duds either – and the band’s thrilling performance, it still ends up a huge success. It also benefits from there being no ballads this time around (Unleash the Fire even had two) and a very strong finish in the shape of “Raining Fire”, which is at once one of the most unusual and also best Riot songs in quite some time. Shine on!

Choicest cuts: Victory (the “whoa whoa whoa” part in the beginning is a bit much, though); Messiah; Burn the Daylight; Heart of a Lion (nothing beats a good ol’ history lesson wrapped in stainless steel); San Antonio; Raining Fire

Rating: 8.5 out of 10 points

Seven years later, I still have complex feelings about Riot V. I was hoping their second time around the block would help things make sense, but I'm only more confused. That album cover, for example. I don't know what to say. I guess I never realized just how thick Johnny is. I mean, goddamn. He's looking good. And beyond that, four long years separated this album from the occasionally magnificent Unleash the Fire, and that's a long time to wonder if lightning can strike twice, or if lightning can be caught in that same bottle. Or if a streak of lightning can shoot through the air while an electric sun lights up the sky.

First, I'd like to talk about fan service. This isn't about the album cover again, I'm done talking about that. Armor of Light is thoroughly drenched in self-reference and prideful allusions to their own past. It begins innocently enough; just a few winks and nudges to see if fans are paying attention. And eventually it becomes a gameshow of "spot the callback". Some are easy, like the swanky brass section in 'Caught in the Witch's Eye' being reminiscient of The Privilege of Power, or the bluesy acoustic licks that commence 'Burn the Daylight' sounding an awful lot like 'Warrior'. Then it gets tricky, like the distorted, numinous voice in 'Messiah' sounding like the voice in 'Storming the Gates of Hell'. Or the main riff of 'Messiah' sounding like the main riff of 'Thundersteel' played backwards. I have no problem with a band drawing from their own well (especially when it's such a magnificent well like Riot's), but an over-reliance can result in an album without identity. Music that just idly sits there and describes a truncated retrospective of things you already know. And that's my job.

Furthermore, this prose is undermined by both a generic, Sneap-like production, and a mystifying bias toward the triumphant, joyous side of power metal. Most compositions have a DragonForce-esque grin plastered to their face. If you recall, Thundersteel and Privilege of Power had plenty of dark, moody tracks like 'Bloodstreets' and 'Killers'. Even Unleash the Fire had a few bittersweet tunes to counterbalance all the cheery optimism. Conversely, Armor of Light is nothing but sunshine and goodness, where even 'End of the World' is a peppy major-scale barnstormer. 'Ready to Shine' - designed to emulate Inishmore's 'Watching the Signs', I'd wager - is driven by a bubbly fanfare that sounds like the credits theme to a Super Mario game.

But in some respect, I can admire that. Armor of Light is yet another album attempting to sequelize Thundersteel, but its youthful dynamism and idealism evokes more Narita and Fire Down Under; a high-spirited naivety children possess before the real world destroys it. Armor of Light thinks it can do anything, self-doubt be damned. I suppose that's why the aforementioned 'Caught in the Witch's Eye' feels the need to have a massive trumpet sting out of nowhere. To this end, Riot veteran Mike Flyntz and returning guitarist Nick Lee do a great job, as per usual, crafting a host of fiery leads that capture the fun-loving spirit of the late, great Mark Reale. Even if they are a bit too flowery at times. I think they were listening to too much Powerglove when they wrote that 'Burn the Daylight' solo.

If you don't dig this abstract viewpoint, let's just say the actual musicianship of Armor of Light is superb. Returning vocalist Todd Michael Hall is still launching his powerful falsetto into outer space, and rapid-fire polyrhythms from Virgin Steele luminary Frank Gilchriest don't have a single snare hit out of place. I suppose the main dent in the armor (of light) is the songwriting itself. It ascribes a bit too much virtue to the tenets of modern europower; an oversaturation of lightning-fast major-scale mortar fire that comes off a bit cornier than most Riot fans are perhaps accustomed to. If that's your idea of a good time, then more power to you. Literally.

Right off the bat, I'm putting Riot up there as arguably the most underrated/overlooked metal band of all time, right along with Turisas. If you can put out this album 30 years after putting out Thundersteel, you're a very, very special band. If you're not someone who has Thundersteel in your collection, there's a good chance you do not know this band, and that's a sad statement.

The foundation this house is built on is fist-pumping anthems in the epic US power metal tradition. Occasionally there are deviations into speed metal like in Messiah and Raining Fire, as well as this blues-rock infused old school heavy metal sound like in Caught in the Witches Eye and Burn the Daylight. This blues-rock thing is a sound that I should by all indications hate because I have no love for either the blues or rock, but Riot has always managed to make it stick with me and seem more badass than it reasonably should.

There are a few things this album does especially well, that surprise me all the more considering how long they've been doing this (although the band technically has no original members). Most old school metal bands that continue releasing material into our current decade frequently fall into one of two traps - trying too hard to maintain the past, mostly failing to recapture the magic; or embracing way too much of the "new" generation, and in that way, failing to capture the magic. Riot walks the tightrope exceptionally well. This album has super punchy, but still adequately traditional production values and great guitar (and bass!) tone. Another point where old school bands can falter is on the vocals - either the vocalist is past their prime or the newer, younger singer just isn't up to snuff. Well, in the case of Armor of Light the newer, younger singer is an absolute killer. I mean an absolute killer. This guy puts the "power" in power metal. On point in tone, pitch, and passion. This singer could hold his own against any great of the genre.

Another completely unexpected aspect of this album is fantastic drumming. As tight and complex as a band that would maybe put an emphasis on technicality, but not at all showy - adding greatly to the music, not taking away from it. Something as simple as the doubling up of the hi-hat pattern and subsequent rolls on Set the World Alight really go a long way to flesh out the track.

Speaking of which, this track shows the versatility of the band, and how they've avoided another pitfall of older bands. This song is melancholic and heartfelt sparing you the cheesiness that could easily have emerged here. From the title track just before with it's super upbeat, uplifting feel, to the somberness of Set the World Alight, to the all-out speed metal of San Antonio on the following track, the band just doesn't miss a beat as they move from one mood to the next.

The only flaw I can see on this album is two tracks in particular that seem to borrow heavily from tracks on Thundersteel. The first being Messiah which is much like the namesake of the album and Heart of a Lion which starts out with a riff that is very similar to Flight of the Warrior off that album. Both songs are still damn good, and the latter adds enough of it's own stuff to separate it, but I do have to take off some points for this.

My highlight is San Antonio. This chorus is just too damn catchy, and I'm a sucker for a gallop beat with a good ol' power/speed metal riff. That said, I think this album is extremely consistent, even through the dabbling in different styles throughout. I will also include the singer's and the drummer's whole performances as highlights. They really elevate this album from good to great.

For a band that's 43 years old that has a baby seal as a mascot to put out an album this strong, they must really have heavy metal running through their veins!

In many ways, Riot's most devoted fans often agree to say that this band is dreadfully misjudged. Founders of the power metal genre for some, main vector of heavy metal between Occident and Japan for the others, this band swept such a great amount of traditional genres that it is quite complicated to stick them one unique identity: typical American hard rock with "Rock City" or "Born in America", speed/power with "Thundersteel" and the more modern releases, folk aspects with "The Brethren of the Long House" or "Inishmore"... But one common point lasts: everywhere Riot passes, Riot successes. The albums go on without disappointing the fans, in spite of the decades going by, thus forging to the band a solid reputation. But without for all that Riot isn't indifferent to time and the decease of Mark Reale in 2012 let the band in trouble: should they carry on without him, or split up like others do at the loss of their frontman? They chose the first option, hoping the upcoming albums would please the fans, while slightly modifying their name to "Riot V" (the Roman number, not the letter). And still today with Armor of Light, Riot V prove once again that they act more like an excellent tribute-band to themselves, honoring this way the memory of Mark Reale.

Fortified by their first album Unleash the Fire, the members of Riot V sustained their momentum four years later with Armor of Light that one could rename "Thundersteel II". Indeed, the album takes us back in many aspects to this speed/power sonority that made the biggest hours of glory of the band, back in 1988. Almost six songs out of twelve (without the bonuses) feature constant double-kick pedal, and all of them contain at least one solo and a powerful scream from the singer, which leads us to this conclusion: if Riot succeeded, it's also thanks to the musicians (more or less new) that were able to understand and reuse perfectly the methods and the codes of composition of the music, imposed by their predecessors. Todd Michael Hall, who sings since Unleash the Fire, manages very often to reach high-pitched notes with a notable strength and to keep them for a long time. Let's quote for this point "Victory", "Messiah", "Angel's Thunder" and "Armor of Light" for the most obvious examples. The guitars aren't to be undone, especially the soloist. Among them, Mike Flyntz, member since 1989 and who had time to assimilate the core of the band in order to lead the others musicians. It's the same with the bassist Don Von Stavern, the oldest member, who joined the band in 1986. We feel then that all these years spent among Riot's ranks borne fruit: we notice in this album at least one remarkable solo by song, sometimes almost neoclassic like in "Burn the Daylight" or "Armor of Light". As for the riffs, they manage to be diversified without being off-topic, building that way a guiding principle.

I said in the beginning that Riot already swept every single traditional metal genre through its existence: as a faithful tribute-band, Armor of Light does the same. There are plentiful of winks to the band's previous works. The opener "Victory", just as the eponymous track, "End of the World" or "Ready to Shine" feature a ton of melodic guitar leads, sustained by a constant-pattern drumming that reminds the most traditional European power metal possible. The most example would be the track "Messiah" where everything, from the main riff to the chorus, reminds of the famous song "Thundersteel". However, the band doesn't neglect its rock origins with the songs "Caught in the Witche's Eyes", maybe the song that let me the most dubious because of strange decisions like the fact to put trumpets on the pre-chorus... But it's just a question of taste. While talking about American hard rock influences, one must also point out songs like "Angel's Thunder" or "Burn the Daylight", where we would swear that the main riff comes from "Narita" or "Rock City". A quite interesting fact, from such hard rock-like riffs, the band still manages to create a chorus that really sounds power metal, which confirms the ease with which the band juggles from one genre to another. Another wink, more discreet this time, could lie in the song "San Antonio". If the lyrics praise the benefits of the Texan city, the fact that the band chose this place instead of another could lie in the fact that it is the place where Mark Reale died...

Actually, Riot V distinguish themselves because their album sounds way more European power metal than any other American power metal bands try to do, with all of these melodies and these double-kicks. As for Armor of Light, it appears to be an excellent mix of everything that Riot succeeds in, without eclipsing any instrument: the voice offer powerful screams and memorable chorus, the guitars bring superb riffs that don't sweat the lack of inspiration, the drumming never stays in the background and the bass even takes time for itself like at the beginning of "Angel's Thunder".

It is hard to get bored of this "Armor of Light" so much the songs are different and where it is hard to create proper boxes. We could almost make a track-by-track review so much each song has something different to offer: songs like "Victory", "End of the World", "Messiah", "Armor of Light" and "Ready to Shine" are clearly europower-headed, "Angel's Thunder", "Burn the Daylight", "San Antonio" and "Caught in the Witche's Eyes" sound more like an old hard rock tune and "Raining Fire" and "Heart of a Lion" are clearly darker and more aggressive. An interesting melting pot made by quite young members in the band's history, that let think that Riot still has a bright future in spite of his age.

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In the alarmingly growing world of franchise bands carrying on after the passing of their leading figureheads, Riot V is closer to the Black Star Riders side of the spectrum than it is to say Lynyrd Skynyrd. Sure, adding the Roman numeral was a rather flimsy way to avoid a total name change but it still acknowledges the end of an era and a new beginning. It’s also reassuring to see Riot V put out some damn good material in the process.

Like 2014’s Unleash the Fire before it, Armor of Light offers plenty of that post-Thundersteel power metal that Riot fans have come to know and love. The drums are near constant double kicks, the guitars offer a mix of sweeping solos and fast chord progressions, the bass has a subtle but audible place in the mix, and the vocals deliver a slew of catchy hooks in a high-pitched tenor without going full-on Tony Moore. The drum sound is rather clicky at times, but the musicians’ tight chemistry keeps things from feeling too stilted.

Such a description may make the album seem like a retread of its predecessor, but a slower, more melodic execution helps set it apart. Tracks like “Angel’s Thunder, Devil’s Reign” and “Raining Fire” may offer gritty updates to the old speed metal formula, but the band’s hard rock side is emphasized more than it had been in over a decade. “Set the World Alight” and “Caught in the Witch’s Eye” offer strong mid-tempo grooves with the latter even sporting a horn section that is sure to remind listeners of The Privilege of Power.

With that said, Armor of Light does prove to be a rather derivative listen. It’s only inevitable as Riot V now exists as a tribute to original guitarist Mark Reale’s memory, but there are moments that draw from outside sources. The verses of the opening “Victory” have obvious parallels to a certain Iron Maiden staple, while the “Kill the King” homages on “Burn the Daylight” and “San Antonio” see the band’s long dormant Ritchie Blackmore influences come to light. But it’s hard to be that mad when the choruses are this catchy and the performances this enthusiastic.

Whether Armor of Light is Riot V’s second album or Riot’s sixteenth, it proves to be an enjoyable listen. It leans more toward the hard rock flavor of The Privilege of Power or the underrated Sons of Society than Thundersteel intensity, but Riot fans should enjoy this regardless of their era preferences. There aren’t as many key players from the classic eras left these days, but Riot V’s clear enthusiasm puts them leagues above most of their peers.

Highlights:
“Angel’s Thunder, Devil’s Reign”
“Burn the Daylight”
“Set the World Alight”
“Caught in the Witch’s Eye”
“Raining Fire”

Originally published at http://indymetalvault.com

Riot have always been one of the few American power metal bands to breach the Atlantic with the Abba-meets-Priest ethos of European power metal. Throughout the last 25 years they have swung from legitimate early-90s Euro-power imitators with albums like Nightbreaker, 90's era Rainbow clones with much of their DiMeo output, and more recently the typical Euro power cliche. Unleash the Fire brought in some very anthemic choruses and they have taken that formula a step forward here.

Other than the impeccable and melodic guitar theatrics courtesy of main axeman Mike Flyntz, the vocal performance of Todd Michael Hall on this metallic journey is a freaking fantastic highlight. He sounds a lot like Matt Smith of Theocracy here, and the choirs are extremely Theocracy-esque in their production quality (though not quite as dense). He also tends to channel a bit of Joacim Cans on this disc for good measure. On the drums Frank Gilchriest pounds away in fine fashion, lots of Joerg Michael-style mechanic-like drum beatdowns here.

The album is filled with typical Riot/Maiden/Priest/Helloween-style riffage, the first song is an obvious ode to The Trooper and track 3 Messiah is an obvious ode to Thundersteel; but despite the familiarity with this material it feels extremely fresh. The unforgiving Euro-power nature of it is exactly what the aging and sagging USPM genre needed at this point. I think everyone and there ugly mom seems to enjoy Theocracy so why don't more US bands take this route?

Back to Flyntz he is on fire here. This guy is one of the most underrated in all of metal and seeing him live a few times has just been mesmerizing. So many high-flying major melodies, many of those feel-good major to minor tone shifts, dazzling arpeggios, just pulse pounding, jaw dropping, mood lifting stuff really.

The album rockets off the grid with 7 melodic blasts that seem unrelenting. Victory is the most traditional sounding with Heart of a Lion or the title track being the absolute Euro-power anthems. A lot of sing along anthems to jam to here, pretty much every chorus is a massive hook. At track 8 the album slows down and the tone here might bring to mind the band that Mike DiMeo joined after leaving Riot, Masterplan. It is a bit darker in tone and more mid-paced with an optimistic lyric theme of personal liberty and inner strength; something you will hear endlessly from Riot. The positivity and endless lust for freedom in power metal is just staggering and these guys carry the flame with valor.

The second half of the album rules as well, swaying towards a more traditional direction. San Antonio is as familiar of a Riot-rocker that you will find, fist pumping fury, my God. At the end of the album they do crank it to about 12 though with Raining Fire. Starting with a menacing opening riff they blow the roof off the whole album in the finale. It is going to appease those who like their power metal in the Brainstorm or Savage Messiah mold. Just a fucking smoking closer. The guitar lines...

The whole album crushes. It touches on all areas of speed, melody, rock'n'roll, power; it's all here.The bonus tracks are freaking amazing too, Thundersteel 2.0? Yes, please, and thanks.

Riot V blows your top off in 2018. Amen.