BALANCE OF POWER: Fresh From The Abyss

King Power

UK’s Balance of Power put out some amazing melodic rock/melodic metal albums in the late ‘90’s/early 2000’s with Lance King on vocals – the best and most memorable was Perfect Balance (2001) which was the culmination of 3 releases with King on vocals, all of them excellent. This band’s penchant for a melodic hook and melody – augmented by perfect mixing – is notorious, as fans of those albums are aware.

But then, for reasons unknown to this writer, they totally changed things up with 2003’s Heathen Machine, which was more of a progressive metal album with John K on vocals – his style not too dissimilar to King but more harsh, less melodic. The songs were longer in the 6-8-minute range – with a bit too much instrumental jamming – and the usually melodic hooks were noticeably absent. Now, don’t get me wrong, the album wasn’t bad – these guys are skilled musicians/writers – but it was such a change from the previous three records that it just never went over well with media and fans alike.

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Perhaps, the detour of expression which was Heathen Machine may explain the 20-year hiatus from making a new album … or perhaps other factors were involved…

One More Time…

Nevertheless, Balance of Power is back in 2024 for (at least) “one more time around the sun” with Lionel Hicks (drums/production) and band founder/Tony Ritchie (bass/vocals/main songwriter) – the only original member from the 1997 debut When The World Falls Down.

Jade Power

Not surprisingly, somewhere along the way they’ve discovered the talented singer/songwriter Hazel Jade (Rogers) (ElevationFalls) from Dublin, Ireland, who has an amazing melodic voice which encompasses a plethora of musical styles (jazz/hip-hop/pop/rock). Powerful, emotive, sensual and hypnotic, Jade’s vocals are quite striking, and because of her lower range she infuses a grittier rock style to the BOP sound.

Pete Southern (guitars) is credited with one song here but on the insert Chris Masimore and Stoney Wagner have taken over the guitars and Julien Spreutels the keyboards. Based on the quality of the guitar solos on Fresh From The Abyss – and there are quite a few – there is no shortage of talent here. Similarly, the keyboards are used so effectively here that at times you forget they are there at all, but then a flourish here, an atmospheric effect there, and even a solo or two reminds you of their perfect presence.

Jepson Vision

Most significantly, the album was co-produced by Hicks, of course, and singer/songwriter Toby Jepson (Little Angels/Wayward Sons). Jepson has enjoyed success in the UK throughout his career for his development of young bands and he has a vision to use computers as little as possible in the songwriting process. Now, some of you are probably wondering where I am going with this, right?

More Voids to Fill…

A concept which was introduced in my Human Code – Break the Silence review is this idea that there is the propensity of nature to “fill a vacuum” or void and that this idea carries naturally over into the music industry. Where has all the melodic rock, hard rock, pop if you want to call it, gone?

Furthermore, music by numbers has replaced humans sitting in a room together, exchanging ideas and actually writing memorable, melodic music with meaningful lyrics – words and sounds which connect with other humans on an emotional and spiritual level.

Balance: The Rise and Fall and Rise of Dream Theater

Don’t misunderstand, technical music is amazing. I am a huge fan of musicians and artists who can play complex and technically difficult to execute music. It’s a gift. But those sounds don’t always create great music, in my opinion.

Why was Dream Theater’s Images and Words album such a success? They found a way to introduce mind-boggling execution without – I repeat – without sacrificing the melody. In the middle part of their career (after Scenes…) I find their songwriting waned in favor of technical prowess and the song quality fell. Thankfully, on the last few releases they’ve moved back toward a better balance between the technical and the melodic elements.

Perfect Balance – A Shade Darker

And speaking of balance, the guys in Human Code figured this out which is why Break the Silence is such an amazing recording of songs. They knew there was a “void” of good melodic rock records out there in the past 20 years. I would argue that Balance of Power’s Perfect Balance (2001) was one of the last really great, nearly perfect hard rock/melodic metal releases of the past two decades. Sure, there have been some good ones, but that album was great and still sounds amazing to this day.

Incidentally, if you haven’t figured it out by now, the appropriately titled, Fresh From The Abyss, is a melodic hard rock/melodic power metal juggernaut which captures some of the greatness of Perfect Balance, while simultaneously adding a darker edge to the story-telling. Afterall, the world has changed a lot in 20 some years, has it not?

Balanced Return

But what hasn’t changed is the need for more music with great hooks, rhythms and melodies – the need for songs which can both create an emotional picture and rock with conviction and energy. I’ve listened to Fresh From The Abyss probably 20 or more times in the past 3 months and can’t find much of a weak moment (maybe the repetition in the choruses?).

This is not an album on many people’s radars this year because most people figured that BOP was over by virtue of their 20-year silence. How much that last release Heathen Machine factors into the equation only the band can meaningfully comment upon. But I would bet this release will be as much of a surprise to many listeners, critics, etc. as it was to me.

What’s In a Cover (Art)?

Interestingly, the album cover (we still love these right?) with its dark, ominous tones speaks volumes about how Fresh From The Abyss differs from those somewhat more “cheerful” BOP album covers of yesteryear. We live in dark times. We don’t need scenes of Hell and demons and warriors fighting with swords anymore to remind us how bad things are in reality – reality is in our face every day. It’s almost like a statement of presence, like, this is where I’ve been, this is what I’ve endured, and this is where I live.

Consequentially, as the best album covers perfectly capture the essence of both the music and the words, the whole idea evoked here is one of endurance, perseverance and survival. I think its brilliant – dark yet not fatalistic.

Keep It Simple

Also, and in stark contrast to the back catalog, the CD digipak is simplistic in design and the 12-page booklet isn’t filled with bright graphic artwork. Instead, the words are the focus, clean and direct. Almost like the band is saying, forget the flare, this is what matters – the words and the music soundtrack. Period.

Furthermore, this clean, more simplistic (which doesn’t mean boring) approach is carried out in the music. Nothing complex here – these songs are totally engaging and accessible. Look, I love technical metal, but didn’t the Beatles prove a long time ago that memorable and impactful can be found within the simplest beats and melodies?

Keep It Concise

Fresh From The Abyss is sheen, its powerful and it has been trimmed to a lean 42 minutes. You might think that after 20 years the band would have more material to showcase, but maybe they did some heavy editing to keep only the best for maximum impact. Quality over quantity. But back in the day, the album sides were all around 20 minutes … so keep that in perspective.

Soundtrack To Survival of The Abyss

What is immediately evident from the first song and what becomes clearer as the songs progress, as well as with repeated listening, is that there was likely a lot of pre-production work done on this album. This should be of no surprise given the musical and production pedigree of Hicks and Jepson as well as Ritchie’s gift for songwriting.

Give Me the Strength…

The opening track “Last Man Down” perfectly sets the tone for the rest of the album. Queen-like vocal effects kick it off as Hicks fills the intro to the song with busy, yet smooth snare and tom accents before laying down the heavy groove with the guitars and bass.

 …and then Jade unleashes her voice upon the rock world!

“This was not the ending I was looking for…”

Her voice is accompanied by male BGV’s in the spirit of UK prog metallers Threshold as she wades her way through what seems like a near death environment. After the second verse and chorus there is a guitar solo followed by this progg-y keyboard solo, which is surprising, yet flows perfectly within the context of the song.

Jade once again leads with clarity through verse 3,

“My body’s numb, but I’m still dancing/through the wind and rain … the silence it comes and trickles through my brain/I think the end is close”

The infectious chorus section resounds,

“Who hears the words of the last man down/Give me the strength of the last man down”

If that’s not enough, the song closes with Hicks jamming out again with almost improvisational drum fills amidst the overlying high-register BGVs. If you think the compositional skills and chops are rusty after 20 years, forget it.

Like Thunder in the Night…

“Never Be Here Again” has an epic vibe, the keyboard/effect intro setting the tone to convey the urgency of the message. The dynamic contrast here is ridiculously effective. The ebb and flow of tension within this track is crazy as is the way in which the keyboards provide support without making the song sound progg-y. Think Europe.

This is melodic hard rock at its heart, yet with just a touch of contemporary edge and that sweet guitar solo shreds.

“Screaming out a warning/There’s an angel burning bright/We can never be here again/Never be here again”

Mind Killer

In quintessential BOP form, “Monster” is a monster of a song, the patented grooves and drum beat so true to form for this band. And the catchiness of this chorus section is infectious…

“There’s a monster in my head/I’m going in for the kill/There’s a monster in my head/There’s no going around it/I wish I never found it”

Once again, the balance on this song between hooky melody and rhythmic bliss is darn near perfect.

The Hell of the Evergreen

Musically, “Rage of Ages” is an amazing song, but I have no idea what the lyrics are trying to convey here. I could conjecture that this is a lament about how hard it is to stay “true” (or evergreen) to what we believe, especially when we get Job-treatment – when “you’re alone and lonely beneath the sun/the rage has cut you deep/but the pain goes on an on.” But wow, what a guitar groove! And Jade’s pipes on this song near the end go upper level. Primo!

Diamond in the Darkness

“Abyss,” essentially the title track, is classic Balance of Power straight up melodic power rock bliss. Musically, this song could be right off the Perfect Balance record. But Jade’s vocals give the song an almost sinister quality. Uncanny how she is both parts melody and aggressive, almost the punk-ish, survivalist villain here. The relentless guitar and drum groove makes sure that there is no wasted time on this track as they hurry the song along like a freight train behind schedule.

Once again, the theme of climbing out of the ashes, overcoming hardship (and evil) permeates the “defy the odds” nature of this track.

“Alive, I am. Seen every kind of Evil/Been in and out of Hell/Fresh from the Abyss/I’ll rise again/A diamond in the darkness/I’m fresh from the Abyss”

Kinda reminds me of that Metallica mantra from Death Magnetic, “What don’t kill ya/makes ya more strong.”

Melodic Jade

Shifting gears, “Velocity” is a song that is all about melody. Consequently, it showcases Jade’s immense vocal diversity, particularly her warmer more sensual side. Whoever wrote the melody – and even the lyrics – here is a genius.

“I kissed you on the feet/before you floated away/torn by your velocity”

Wow. This song is gorgeous, lush, melodic, emotional, and deep. Yet still … the heavy groove still plays a part. This feels very Peter Steele, very Type O Negative. I mean, you can’t tell me the chorus section doesn’t resonate with said late artist.

“The air that you were breathing/Tastes like tears on my tongue/Torn by your velocity/Your spirit still stings”

There is even a beautiful guitar solo and plenty of Hicks drum embellishment to boot. Wow, indeed.

Chaos and Conformity

When does this end? Only 8 songs but there is so much to say. Track 7 reeks of the Balance of Power formula, again with that Hazel Jade vocal edge pushing the badass factor up a notch. “Deadlands” is a wonderfully dynamic song, the bass guitar taking a prominent role in the rhythmic crush. I love how BOP keep the vocals always in the forefront of the mix yet every instrument under that vocal line sounds equally vital.

Ther guitar solos here shred in ‘80’s metal fashion, but never compromise the song integrity. Melody and rhythm rule here. Lionel Hicks once again effortlessly pounds out fills with the flick of the wrist. His performance instrumentally on this release is noteworthy, less formulaic and more inspirational/improvisational.

When Is Our Work Completed?

Honestly, it could be argued that even after seven tracks this is one of the best melodic rock albums you will hear this year (and in many years perhaps) but there is still one more song around the disc with “One More Time Around the Sun.” Here we are treated to the softer side of Jade’s voice, but she still sounds passionate and aggressive in her delivery.

“So far. We can only see so far/You and I are making/our own sweet way through this life/We can only see so far”

The song has a symphonic quality yet remains intimate and personal. The guitar solos are so subtle yet gloriously executed. The longest track on the record – the most balladic for sure – may just be the best. I don’t know, 3 months in and there is still so much to love about Fresh From The Abyss.

Last Spin

Not only has my interest in Balance of Power been rekindled with this release, but Fresh From The Abyss – along with Human Code – Break the Silence – has restored my faith in the ability of artists to stay artistic while simultaneously creating melodic hard rock/metal that is not only well-crafted but expertly executed and recorded. Let’s hope Balance of Power have more than just “one more time around the sun.” This is a highly recommend, fantastic sleeper of an album which may be sadly overlooked because many have long ago written these guys off. Don’t make that mistake.

CD

1. Last Man Down (4:34)

2. Never Be Here Again (5:51)

3. Monster (4:26)

4. Rage of Ages (5:04)

5. Abyss (4:21)

6. Velocity (4:56)

7. Deadlands (4:59)

8. One More Time Around the Sun (7:09)

Massacre Records

Balance of Power

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