Review Summary: One of the most bizarre traditional metal albums I’ve ever heard
By Fire and Sword’s sound sees some serious upgrades as they make the jump from EP to full-length. The production on Glory is much clearer compared to the haze of 2019’s Freedom Will Flood All Things With Light as the guitars get more bottom end and the rhythms have some extra oomph. Fortunately, this more accessible presentation only highlights what is easily one of the most bizarre interpretations of traditional metal I’ve ever heard.
Much of that eccentricity comes down to the vocals, which have only doubled down on the EP’s evangelical weirdness. The light tenor feels more suited to alt-rock than metal by default and the quirky melody choices can make it feel even more alien, especially during the frequent bouts of satirical brainwashing disguised as preaching. It’s the sort of thing that would fall flat on its face without the right amount of conviction behind it and it’s great to see The Reverend deliver in spades, coming off like a deranged cross between Papa Emeritus and Professor Black with some John Arch-style warbling for good measure.
It also helps that the other musicians make for a rock solid unit. The guitar tone isn’t too far off from the brightness of a band like Wytch Hazel with the bass boost giving it some extra weight and the drums exerting plenty of power. There’s also plenty of chipper organ to go around, emphasizing a feel that’s somewhere between seventies rock and power metal without feeling incongruent.
These ingredients can certainly make Glory a tricky album to wrap one’s head around, but the songwriting maintains a steady priority on catchy anthems. Things really get going with “The Feast” serving up an especially sweeping chorus and “Tithe (The Money Song)” exercises some infectiously pounding hooks. There’s also room for some neat contrasts between the more ominously mid-tempo “Tap The Conduit” and the high flying Helloween-esque speeds of “Glory, Love, and Light” and the closing “Dear Reverend (Please Take My Hand).”
With all this in consideration, Glory is the sort of album that feels like it shouldn’t work as well as it does. Its hodgepodge of influences and exaggerated presentation can make for an uncanny listen, but that uniqueness ultimately works in the band’s favor. It’s commendable to see the musicians’ prowess help keep them in character and the songwriting is memorable enough to make the multiple listens it may take easier to swallow. Love it or hate it, the personality is undeniable and I bet the enthusiasm is even more contagious live.
