Review Summary: Simply put: What Convictions should have been.
Here is Saud Ahmed's EP, Guardians 2.0, from his side project "The Holy Guile." Many people were highly anticipating this EP due to their last album being widely viewed as a turn for the worst. Convictions served as a letdown to many listeners, including myself, who have an ear for technicality and musical proficiency. The album didn’t even sound decent whilst lacking any sense of originality and talent: something that made Guardians such a "classic" album. I use the term "classic" very loosely, because it really wasn't one. I could further elaborate on how Guardians 2.0 is much better than their sophomore album, but I think the review that currently stands for Convictions speaks volumes for that case.
Guardians 2.0 has brought back Guardian-esque elements in its assault of never-ending and intricate guitar work. There are only 2 or 3 short parts in the entire EP where the display of guitar riffs is not constantly changing and evolving into a different sound. If you were expecting the chugging of Convictions, you will be happily disappointed.
The drumming on this EP is superb as well. I'm usually not too fond of the use of blast beats, especially when the aforementioned is excessive and annoying. However, Guardians 2.0 exhibits them in all the right places. The drumming fits the musical style perfectly, matching the guitar work. Both elements almost seem to "dance" with one another throughout the EP, producing a "go-go-go" mentality in addition to a sense of urgency in the listener's mind. To me, that's what makes this EP so special. It's so full force with no filler anywhere to be found. Even when there is a small instrumental in Cool Story, it still kicks in harder than you expected.
Saud Ahmed's vocals have always intrigued me. Personally, I'm very attracted to vocalists that are both unique and full of talent. Ahmed's are both with an incredible range as well. They are a vast improvement over his uncleans on Convictions. Whatever Saud did right in Guardians, he’s doing again with this side project by the return of dark and ominous lows as well as scathing highs which also come off as less forced and more natural. I’m of the opinion that whatever dark, twisted, and people-pleasing course the band has taken in its past, Saud’s vocals were never one of the elements that vastly suffered. Few vocalists are capable of the tone that his voice is able to invoke in the listener, and I will give credit when it is due for this element that “carried” Convictions and is reinvigorated full-force in Guardians 2.0.
There is still the presence of a rather disturbing amount of breakdowns, which I would validly state is usually a deterring element present in bands that lack the talent or originality to write legitimate material. However, gone are the Attack Attack! styled breakdowns with a return of a breakdown style that fits each and every track perfectly. With the return of inspired guitar work, a breakdown or two in one of the 4 minute songs is not too much to handle. It seems as though breakdowns are not the conventional cause of listener distaste, but rather the lack of anything else to supplement them or provide a contrast of musical style within the song. This lack of necessity is not evident in this EP.
Hoping to not come off as a fan boy (as I’m not), I would sincerely say that Guardians 2.0 has come off as musical success in a place where many may have assumed would result in another disaster. When compared with previous associated works, the EP may not be able to challenge the “classic” musical elements present in Guardians, but certainly brings something somewhat new to the table. Use of piano interludes gives an airy feeling of supreme authoritative influence behind the lyrics, and while it occasionally comes off as overdone, it doesn’t serve as too much of an obstruction to the EP’s quality itself.
Lyrically, I’d have to say that The Holy Guile is both a failure and a success. Yes, there is bountiful imagery evident once more and the lyrical structure is elevated akin to Guardians. However, there also is an abundance of vulgarity and a never-ending assault through a condescending message to followers of Christ. In an attempt to paint Christians as ignorant, close-minded, and detrimental to society, it’s safe to say that Saud paints himself as ignorant, close-minded, and detrimental to the public opinion of Christians. It’s a good thing he’s not the dictator of the world, because I would probably be on the way to the gas chamber right now. Targeting hypocritical and condescending Christians is acceptable, but labeling every Christian as such, is not. I get the feeling that the latter is more the case, as Ahmed seems to generically label the Christian faith as the root of the problem rather than some of the despicable people that participate in it. On the other note, the vulgarity that is obscenely evident is unneeded as Saud obviously has the ability to write inspired lyrics. Occasionally, a swear word invokes a feeling in the listener that cannot be created properly in any other manner. Using them sloppily and with great frequency, however, is detrimental to the work as a whole and pervades it with a sense of distaste.
Well done, Saud. Perhaps The Crimson Armada’s next release (assuming there will be one) will borrow many of the elements present in Guardians 2.0. It would serve their fan base well and prove to the music respecting community that they aren’t simply sell-outs who appeal to the immature desires of genericore riffs and uninspired lyrics.
Pros:
+ Inspired lyrics
+ Great drumming
+ Great guitar work
+ Insane unclean vocals
+ Absence of poor cleans
+ Advanced Muscianship
Cons:
- Only 4 songs
- Lyrics are offensive in many cases
- Constant Facebook notification audio can get ridiculous
