DippoMagoo Once in a while, a band might get a total makeover, where they change their sound to the point of becoming nearly unrecognisable. The latest band to have this happen is American heavy/power metal band Steel Prophet. I was introduced to them with their 2014 release, Omniscient, which left me with mixed impressions, as musically it was quite a dynamic, varied and complex US power metal album, but it was dragged down by some rather nonsensical lyrics (it seriously had a track called “Aliens, Spaceships and Richard M. Nixon”, for example) as well as a rather inconsistent performance by longtime vocalist Rick Mythiasin. Almost 5 years later, the band is back with a new vocalist, and while the lineup largely consists of longtime members, their sound has changed quite a bit on their ninth full length release, The God Machine, to the point where I can see some longtime fans of the band being disappointed, though for anyone approaching it with an open mind, it’s certainly a thoroughly entertaining album.

Steel Prophet has been around since the early 80’s, and their classic sound was rooted in US power metal, being very raw and hard hitting, while also being quite complex at times, with strong prog elements. The God Machine is a whole different monster, being a mix between a much more modernized power/thrash sound, as well as classic heavy metal. Obviously, the most immediately noticeable change is vocals, with Mystic Prophecy’s R.D. Liapakis taking over the mic, and delivering his usual mix of gritty, powerful vocals, with some more soulful moments on the couple of softer tracks, but even musically, things have changed quite a bit.

The approach to songwriting in particular has changed a lot, with a switch to some much shorter, more straight-forward songs, with less complex arrangements and a less dynamic sound overall. There’s still a decent amount of variety to the songs, of course, with the heavier, speedier tracks generally being the best, but there certainly aren’t any long or more challenging tracks like some of those on Omniscient. This approach works well, though, with all musicians doing a great job, as always, and there’s certainly some excellent thrashy riffs throughout the album, with nods to classic thrash at times, as well as some classic heavy metal galloping riffs and melodic guitar work on some tracks. Obviously, a lot of the changes to the sound were made to help Liapakis fit in, as some of the tracks certainly do remind me of Mystic Prophecy at times, and he sounds as great as always on the album, taking no time at all to settle in and deliver some excellent vocals. Production is top notch, and everything sounds a bit more modern and polished compared to previous releases, which is another big change.

The band wastes no time in demonstrating their switch to more modernized riffs and more simplified songwriting, with the title track kicking things off at a furious pace, instantly launching into some very thrashy power metal riffs, which instantly bring Mystic Prophecy to mind (it most likely is one of the songs written by Liapakis, who split songwriting duties with longtime guitarist/keyboardist Steve Kachinski.) The song has fun verses and a very catchy chorus, and it’s a very fun, hard hitting track overall. Next is another speedy track in “Crucify”, the lead single for the album. It still has a modernized sound to it, though the lead guitars are a bit more melodic during the verses, before getting thrashy again during the chorus. It’s another hard hitting, fast paced track, with its biggest highlight being an extended instrumental section with some thrashy leads and excellent solo work that brings classic Metallica to mind. Next is the slightly slower, though still decently fast paced, “Thrashed Relentlessly”, another track with some great, heavy guitar work. It’s another modern sounding track, with powerful riffs and a strong, melodic chorus, with excellent vocals.

On the slower side, “Dark Mask (Between Love and Hate)” is a very classic heavy metal sounding track, with some nice melodic leads during the verses, as well as a very melodic and catchy chorus. Despite having a classic sound to it, the song still feels more polished and more simplified than most other songs I’ve heard from Steel Prophet, though it’s definitely a great track. Next is “Damnation Calling”, the first of two power ballads on the album. This track at times feels like an Iron Maiden ballad, with how it alternates nicely between very soft passages, and some darker, heavier passages. It opens calmly, before some heavy guitar work kicks in, and from there the song switches seamlessly between heavy verses, and a nice, melodic and very powerful chorus, with a particularly speedy section in the second half being the biggest highlight. After that is “Soulhunter”, my favorite on the album. It has some classic Maiden style galloping riffs, and is a fast paced track, with a mix between heavy riffs and some great melodies, with the chorus in particular having some incredible vocal melodies, as well as being very fun and catchy. The track has a great instrumental section in the second half, as well as an excellent speedy section near the end, which takes it to new heights.

The second ballad on the album is “Buried and Broken”, which starts off with more Maiden style guitar work, before slowing down and turning into a very soft, vocal driven track, only getting heavier during the chorus, and an intense sequence towards the end. It serves as a nice vocal showcase, with Liapakis alternating nicely between soft and powerful vocals. Next is another slower track in “Lucifer – The Devil Inside”. It has some great heavy riffs, as well as a nice groove, and a strong chorus. It has a slight doom metal atmosphere to it, though it does get more upbeat in the second half, with a fast paced and intense instrumental section. It’s a very good track, overall. Next is “Fight, Kill”, which begins with some soft, very epic guitar work, before turning into an excellent melodic heavy metal track, with some fairly fast paced riffs, and another fun, catchy chorus. It has an excellent instrumental section in the second half, and it’s a great classic heavy metal track, overall. Closing out the album is the weirdly named “Love = Life = God Machine” which, despite it’s unwieldy name, is actually a very good track, with more classic heavy metal style guitar riffs. It has a slight hard rock feel to it, with a fairly laid back sound, while still having some great riffs during the verses, which give way to a very melodic and powerful chorus. The instrumental section in the second half especially has a strong 80’s feel to it, and overall the track is a lot of fun, and is a great way to close out the album.

I wasn’t too sure what to expect from The God Machine, as I wasn’t too thrilled by the previous Steel Prophet album I had heard, but the band has made quite a change on this release, switching to a more modernised sound, with some power/thrash elements, while still having strong influences of classic heavy metal, which takeover more and more as the album progresses. The songwriting is a lot more direct and satisfying, and R.D. Liapakis sounds as great as ever, so I think newcomers looking for some fun heavy/power metal are actually more likely to be pleased with this than longtime fans of the band, as I feel this album might be a bit too different to appeal to that crowd. Either way, though, it’s a strong album, and it certainly leaves me looking forward to seeing what the band does in the future.

originally written for myglobalmind.com: https://myglobalmind.com/2019/04/29/steel-prophet-the-god-machine-review/

adg211288 Omniscient (2014) is the eighth full-length album by US power metal act Steel Prophet. It's been ten years since the band's last full-length album Beware (2004). Beware looks to be a bit of an oddity in the group's back catalogue, as it is the only full-length not to feature usual lead vocalist Rick Mythiasin, who has returned to the fold for Omniscient.

Strangely, I hadn't actually heard of Steel Prophet until the promo of Omniscient came my way (maybe it's because of the ten year gap). It's certainly one of the more intriguing promos I've received this year though; not only is the cover art quite striking (though it screams technical death metal at me rather than power metal) but the song-titles tend to be eyebrow raising (666 is Everywhere (The Heavy Metal Blues), Aliens, Spaceships and Richard M. Nixon and 1984 (George Orwell is Rolling in His Grave) being the most prime examples) and there's a pretty big claim about the band thrown up as well - that they are the originators of progressive power metal. Not being familiar with them previously I can't really confirm nor deny such a statement, but it is a pretty bold statement to make and one that I think does not reflect the contents of Omniscient. This is power metal, sure, and it does have the occasional progressive twist to it, but occasional is the key word here. Still, albums not being what they say on the tin is nothing new, this is isn't necessarily a problem.

What is a problem though is the incoherent nature of the release. I can usually rely on the Cruz del Sur Music label to serve up gold in the fields of power, traditional and doom metal but this latest offering from Steel Prophet on their power metal roster sounds like a major mishit. Supposedly a concept album, the lyrics are marred by attempts at humour and seem too random in general to form any sort of story, with themes covering the September 11th 2001 attacks, science-fiction, and a cover of Queen classic Bohemian Rhapsody. Maybe it would come clearer if Rick Mythiasin's vocals were easier to follow, but the biggest killer of this record is that his performance is quite erratic. There are times when he shows himself capable of delivering some really kick arse USPM but at other times his delivery sounds more quirky and even irritating. The return of the more well known vocalist to a band is usually something to celebrate but having looked up a couple of songs from their earlier album Messiah (2000) I have to say that Rick Mythiasin sounded much better on those than he does on Omniscient.

While not enjoying vocals is the biggest killer on a power metal album for me, I can't lay all the blame for my lukewarm feelings for Omniscient at Rick Mythiasin's feet. The music itself tends to have the same inconsistency issues, though it is to a lesser degree. There's definitely some solid and enjoyable power metal here, in fact the on tracks 911 and Transformation Staircase everything comes together pretty well for the band, but most of the time the album just seems quite bland and restrained for the genre, with some parts even being boring. In fact their Queen cover proves the most consistent part of the release. I'm not particularly a Queen fan but honestly I've never heard anyone do something that Freddie Mercury originally sang justice and that's also true here.

I don't demand innovation in every power metal album I hear, but I do expect to the music to have a great energy to it and I rarely get to hear such on Omniscient. The album is inconsistent to the point of being messy.