THEOCRACY: Mosaic
ALBUM OF THE YEAR [REDACT!]
Likely an understatement (and so music journalist cliché) to say that Mosaic (Theocracy’s 5th studio release) represents one of the most highly anticipated metal releases for 2023 in both the power/prog metal world and within the niche scene we cover at Heavens Metal Magazine. However, you will not see or hear this writer dropping the other music journalist cliché which typically follows that kind of hyperbole…
“…Theocracy does not disappoint with Mosaic representing their most focused, ferocious and decisively fantastic release to date!” [REDACT!]
To make that statement would be foolish, would it not? For that would be akin to making statements like, “Moving Pictures represents Rush’s most brilliant release to date” or “Pink Floyd’s The Wall clearly represents their best work of the decade” or furthermore to make the point, “Seventh Son of a Seventh Son clearly represents Maiden’s most powerful and dynamic album of the ‘80’s.” Surely you jest… Hmm… you get my point.
Nevertheless, as I poke fun at myself and my music journalism kinfolk for our overzealous and verbose attempts to promote the artists we love (with EVERY single – well almost – new release), there is an enduring nugget of truth hidden within the parody…
When you are good … it is good. When you are great … there is no best, just excellence in excess.
Not the “Best” … Just More of It
Theocracy has been so consistently consistent since inception – every release just as good as (in terms of quality or artistic and musical output) as its predecessor. In this regard, Mosaic is no exception (again, sorry for the cliché). Matt Smith is undoubtedly the human responsible for this – his striving for excellence in every effort along with his desire to “never release a bad song” has gifted the world with now 5 amazing slabs of heavy, melodic, progressive power metal lyrically infused by a Christian worldview.
Nevertheless, I have no doubt Matt would be the first to say that not only has he been gifted with the help of great people (musicians, artists, designers, music engineers/producers, promoters, label-heads, etc.) over the years, but that he has been inspired and guided by the Spirit of truth. How can I say this, you say? The music of Theocracy speaks it – in both volume and volumes!
All this to say, Mosaic doesn’t represent the “best work to date” for this artist. Instead, Mosaic represents God’s provision to Matt Smith and friends to gift the world with yet another amazing and inspiring collection of powerful, insightful and blisteringly fierce heavy melodic metal!
Changes
And man, it is heavy … on so many levels. But before we get to all that let’s get the elephant out of the room on the personnel change. No matter how hard any entity (band, sports franchise, business, etc.) fights for integrity, fights against the entropy of chaos in relationships, things (putting in kindly) happen. Val Allen Wood is out and power metaller Taylor Washington (Paladin) is in (guitars/back-up vocals).
As a reviewer it’s not my job to dwell on all that, however readers might care if the Theocracy soundscape or style has changed as a result. In essence, as a listener (and fan … really?), the simple answer … not really. That said, if in some way Washington persuaded the guys to make it heavier? Perhaps…
And, of course, Theocracy is now on Atomic Fire Records (Germany) having amicably parted with long-time friend and supporter Emil Westerdahl (you rock!) and Ulterium Records (Sweden). In tribute to the Ulterium era of Theocracy (3 amazing studio releases plus a wonderful remake of the debut) check out our review of Ghost Ship, the culmination release (and the culmination review) from all those years. Cheers!!
The Songs
Just a Flicker of Thrash
“Flicker” kicks things off in a bit of unorthodox manner with the almost whispered “Sometimes I just feel like I don’t belong here…” but the song quickly crescendos into a thrash metal frenzy with plenty of pace and guitar shred amidst Smith’s lament about the state of the world in which we live and how unrecognizable it has become just within the brief “flicker” of our own lives. This confession resonates deeply with the soul:
“Do you ever feel like you just don’t belong here?/Me I’ve always known this isn’t home/I’m starting to feel so disconnected/A stranger in a strange and growing ever stranger land/In a world that I don’t understand”
B.A. (aka Believers Anonymous)
Co-written by Hinds and Smith, “Anonymous” is full-on Theocracy power metal with heavy riffage and straight-up punchy kick bass. Smith soars in the chorus section – the melody never sacrificed for the sake of power. If the guitar solo in the opening track doesn’t claim it, Washington’s cred is sealed with the solo in this one. Love Topran’s big “live” rock drum ending. The message:
“Chosen one/Futures and names for all of us/No longer anonymous”
We Are Mosaic
The title track represents an amalgamation of everything Theocracy does so well (musically and lyrically), which makes the song an appropriate musical vehicle to depict the idea of broken pieces being melded together into something wonderful. It works on the level of piecing multiple music concepts together from parts that were not originally created for that purpose to craft a great song, to the grander scheme of making broken people from all different walks in life form together into the “mosaic” of life as intended by the Creator.
I might be going out on a limb but there are some familiar melodies from previous releases that might show up in some form, ingeniously stitched into this “Mosaic.”
The Dogs of Theocracy
Some metal fans may criticize Theocracy for not writing darker-themed songs (ah, but what about “Laying the Demon to Rest” from Mirror of Souls?), but “Sinsidious (The Dogs of War)” would certainly qualify from my perspective. Not only are the riffs killer huge, but there is also a bit of a Maiden romp in the middle section with yet another killer shred solo from Washington. Not only are the instrumental “dogs” of Theocracy unleashed here but the lyrics are predominantly a statement about the negative, and downright evil, stance of the world leaders. However, even amidst the smoke and fire, Smith exhorts,
“Father, may we guard our hearts from the overtly hideous and the more sinsidious”
Dust to AOR Dust
“Return to Dust” is one of the more melodic straight-up rockers on Mosaic. The timeless message of our mortality is well-stated and the music – can easily hear this as a song the Elefante brothers would have loved to over-produce in majestic fashion if Theocracy were around in 1993 – qualifies as the most universally accessible tune on the album.
“Are we alive, or has The 6th Great Extinction come?”
Shredding at the Brink of Extinction
That is the question posed by the 6th track of the album. Here Smith ponders if the devastatingly poor choices we’ve made both with the use of our resources and with our minds and souls has lead us to the brink. Musically and lyrically this one would qualify as the other “darker” song on Mosaic. While not quite as musically “nasty” as “Sinsidious” there are some cool riffs going on here and Topran’s drumming stands out, particularly during the middle section of the song.
Favorite Idol
What did I say earlier about picking favorites? Hmm… Well, honestly “Deified” may, just maybe (If Doug made me do it! “Just pick one, Doc!”), be my favorite track on Mosaic. When I first heard this song during my virgin listen to the album (yes, on the vinyl version, of course) I was blown away. It’s like Iron Maiden on steroids! But the low-end thunder comes out in enormity on the vinyl version. Killer track. Sonically metal, lyrically concise.
“Burn your idols/Holy Fire/Before they can burn you”
The Greatest Ballad
Even the mighty HammerFall acknowledges, “What would a metal album be without at least one metal ballad.” Well, they didn’t actually say that (that I know of, at least) but their legacy speaks to its truth. Anyway … “The Greatest Hope” represents the sole power ballad. It works, it’s beautiful … and it reflects upon loss and the greatest hope. What more can be said…
“Even though you’re gone/And we try to carry on/See you again my friend, I know/For we have the greatest hope”
Liar, Fool, or Headbanger!
The first of the two epic tracks which close out the album in grand fashion, “Liar, Fool, or Messiah” is Theocracy’s Occam’s Razor song. This is a burner power metal of a tune which doesn’t feel as long as its 7-and-a-half-minute duration. One aspect of Mosaic that stands out is the maturity level of the playing. Matt Smith’s songwriting ability is undisputed great – has been from the debut forward – but it has been nice to see the progression of quality in instrumental output over the past two decades, with each release featuring just a bit more professionalism than the previous. But isn’t that a good thing from a band’s perspective? The way it should be?
As I stated at the top, that doesn’t translate into this writer saying Mosaic is the band’s best release to date. Yet isn’t it nice to see this with Theocracy – it so rarely happens in the industry, right? The current musicians – Smith included – are now seasoned vets of their trade. The shred factor on these songs is just through the roof world class and that comes across very nicely on this track.
The Red Sea “Parts”
Finally, the “Red Sea” parts … all the way back to Theocracy’s inception (or pre-inception). I think I saw in an interview with Matt Smith that this song is a contemporary realization of one of his earliest musical concepts. If so, that’s crazy – proof of the gift. I was astonished with the debut release on Metal Ages Records, and to this day am still astounded by the talent displayed by a single artist.
Interestingly, this concept epic consists of three parts. Cleverly, like the Red Sea, “B.C.” and “A.D.” are “divided” by the “instrumental” section. “B.C.” tells the Exodus tale of Moses, the judgements of Pharoah, the Passover, the escape to the Red Sea and the redemptive salvation of the children of Israel as the Egyptians are engulfed.
“A.D” features a summary of scriptures regarding the state of man (spiritually) in our “Egyptian” state of death, the journey to reconciliation through the redemptive work of the Cross to the final salvation through the baptismal waters of the Red Sea. Ingenious the way the Old and New have been brought together in one song singing the same message:
“The red sea crashes all around/I’m overcome and overwhelmed/I take the swim eternal/I’m swept away, it washes me/It washes me forever”
B.C.
Musically – and cinematically – the “album side” (literally all of Side D on the vinyl version) song does not disappoint. The vibe is very much a combination of not only what Theocracy has previously accomplished with “Mirror of Souls” and “Easter” and in some ways it reminds me of a culmination of those songs. But there is some definite Iron Maiden “Rime of the Ancient Mariner” in here as well with the plodding heavy sections combined with “the gallop” section. So cool how the onset of that rhythm section matches the pursuit by the Egyptians portion of the tale. One of the highlights of this section is the singing of Exodus 15 – praise for deliverance!
Instrumental
The cinematic “instrumental” acts as a bridge through the ages from then to now (or B.C. to A.D.), and it is cool how it features so many different riffs and melodies, almost like a mosaic of Theocracy ideas from their inception up to the here and now. Brilliant both in execution and concept.
A.D.
The acoustic guitar leads us into the current age as Smith explains the state of man through the language of Scripture. I would contend that some of this melody we have heard previously … Hmm. Nevertheless, the song brilliantly builds throughout – the Matt Smith guitar solo is a highlight in its beauty and simplicity – to the culmination of melodic metal praise in the final verse. Musically speaking, whereas B.C. represents the stormy heavy power metal side of the Sea, A.D. depicts the blissful melodic metal side. (Wow, Doc, that‘s really lame).
The Sound
Suffice it to say, Mosaic might just be the best “sounding” recording the band has delivered to date. Seriously, did I just say that? Yes, seriously, but you have to give credit where credit is due, because it is obvious that time spent in the trenches of studio warfare for 20 years has got to count for something, right? The mix is very, very high quality – no shrill treble, no overpowering bass (not even on the vinyl) and you can discern all of the instruments easily with the vocals and instruments perfectly balanced.
Digital vs. Analog … its close this time. While I always seem to prefer the wider spectrum of frequencies available on vinyl (the blue marbled one looks amazing too), I would confess that the CD version is jjjjuuussst as good for most ears.
Let’s Get Physical
The CD comes in a triple gatefold with 16-page booklet. Here comes the bad part – the lyrics font and coloration is not very easy to read. Too much brown in the mix, but this is a minor complaint and probably a personal preference issue. That cover art on the other hand…
1. Flicker (3:58)
2. Anonymous (5:50)
3. Mosaic (5:25)
4. Sinsidious (The Dogs of War) (6:46)
5. Return to Dust (4:27)
6. The Sixth Extinction (5:27)
7. Deified (4:18)
8. The Greatest Hope (3:15)
9. Liar, Fool or Messiah (7:37)
10. Red Sea (19:08)
The vinyl version is essential if for no other reason than the cover art! Perfect conceptual construction with the parts all pieced together and the world in the middle. That’s good art and great creativity – an album cover worthy of album covers for the sake of album covers! This is why vinyl rules!!
I love the sound of this vinyl rendering, and the quality is superb – very little to no surface noise. If possible, these songs just sound more massive, more epic this way. It comes with two LP’s, the gatefold jacket and the 4-page 12×12 booklet with lyrics.
Side A
1. Flicker (3:58)
2. Anonymous (5:50)
3. Mosaic (5:25)
Side B
4. Sinsidious (The Dogs of War) (6:46)
5. Return to Dust (4:27)
6. The Sixth Extinction (5:27)
Side C
7. Deified (4:18)
8. The Greatest Hope (3:15)
9. Liar, Fool or Messiah (7:37)
Side D
10. Red Sea (19:08)
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You can pry my CD out of my cold dead fingers!!