Pharaoh is another example, except for one thing: their best days are far from behind them. In fact, they've been busy forging a legacy of unfathomable quality for about the last decade, and they haven't even come close to failing in that regard yet. Bury the Light is the band's third practically spotless album in a row, yet another testament to Pharaoh's dedication to bringing all killer and no filler to the modern American arena. Curiously enough, however, their style has less in common with classic US power metal than it does with the New Wave of British Heavy Metal. The Iron Maiden influence is unmistakable as a result, of course, but there are enough distinguishable and unique characteristics to Pharaoh's music that they never come off as a clone or another revivalist wannabe. Instead, they simply deliver a sound that perfectly marries excellent songwriting, aggressive power, and elegant melodies.
Sound like a no-lose situation? That's probably because it is. Bury the Light presents the band in its rawest and heaviest form. At first I thought the rougher production was an out of place disappointment, but then I realized how well it really fits the album. The foundation of Pharaoh is definitely in the guitar department, an area expertly provided by Matt Johnsen. His performance is so consistently sharp and fine-tuned that it continues to dumbfound me that he's the only guitarist in the band. The riffwork is deceptively straightforward, yet there's always these little technical subtleties to his playing that are a joy to slowly unlock from listen to listen. I wouldn't make the mistake of calling this music simple; it's stunningly complex in ways that aren't obvious upon first listen. Don't worry, however; once it clicks for you, it really clicks. The inevitably fulfilling nature of the songs will soon follow.
Of course, a foundation doesn't mean much unless there's true quality to sit upon it, an intangible thing Pharaoh is luckily bursting at the seams with. Tim Amyar is, in my approximation, probably the most committed member to the vision of the group. Want to know why? Because he's not afraid to put his life on the line and himself into harm's way in the process of making this band great; and by himself, I mean his poor vocal cords. And by poor, I'm not referring to the meaning of the word that represents quality. This guy scratches, tears, and maims his throat with every painful note, utterly owning this thing and showing no age in the act of doing so. I really don't know how he does it. I've heard his voice described as 'strained' or 'old' in the past, and I never fail to scoff at such a notion. These doubters don't seem to realize the emotive and enduring qualities of his style, one I'd liken to that of the Primordial frontman. Simply amazing.
The final essential component of this delicious brew is the songwriting. You can probably guess where this going: broad, gleaming generalities, fanaticism galore, etc. Well, what else can I say? Once again, I can't trace any noticeable shortcomings in the Pharaoh ensemble. Bearing a tight but diverse set of songs, Bury the Light brings the heat and the artistic prowess to each and every corner of the tracklisting. There are no highlights, for the entire album is a highlight. Heh, well that's pretty pretentious, so here are some examples. "The Wolves" is the fastest and most over the top song made by the band yet, going almost full-on thrash in the verses before busting out a vicious mid-paced riff during the relentless chorus. "The Year of the Blizzard" is simply epic, the longest track here and a narrative journey through many styles and moods. The 70s rock influence is strong in this one, as is Amyar's beautiful clean singing.
I always attempt to refrain from doing track-by-track analyses, but boiling an album as great as Bury the Light down to its bare essentials is an extremely difficult task. "Castles in the Sky" reflects its title flawlessly, soaring to the heavens with unforgettable melodies and a penchant for boundless energy and adventure. Surprising, then, is the somewhat cynical nature of the lyrics. "The Spider's Thread" is a short but free form track of sorts, traveling in a story-like manner to new heights. It's moments like the arresting melody at 2:56 that cause me to call this band a pack of musical geniuses, and the reprise at the album's conclusion ties it all together. My absolute favorite track of the lot, however, is "Cry," one of the most straightforward here, managing to reach the emotional zenith of this masterwork at the same time. Damn, that chorus. "Cry! For what we could have been..." Sound like an Adele lyric? Ha, just listen, you unenlightened fool.
No, this isn't fucking Crimson Glory. Pharaoh isn't trying to be, and they never will be. Believe it or not, bands can be judged upon their own merits rather than being lumped into or trying to revitalize movements that have been dead for over twenty years. This band doesn't exist to emulate, and I think Pharaoh has proven that at last with Bury the Light by falling into a comfortable groove that can only be defined as a sound all their own. Asking if this album sounds too much like predecessor Be Gone would kind of be like asking if this gold looks too much like that gold; it's simply irrelevant and, if anything, yet another tribute to its pristine quality. It may be a microscopic hair short of that masterpiece, but that's it. The small circle of people who criticizes this band looking for things they won't find makes no sense to me. Put simply, it's heavy metal, and it's some of the finest material in this expansive genre's resume.
Not listening to this makes you stupid. Don't be stupid.
Overall: 9.25/10 (Outstanding)
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