“…Its progress has no limits…”
Drawn to the only source of light and heat a society becomes enslaved to a thoughtless industrialist ideal. The towers’ appetite for energy and progress is so great that human beings become its only remaining resource for power. Worked until dead and then used to feed its machinery, the towers continue to rise without any concern for the welfare of the people. On the outside, however, lives the Subterranean. This self-proclaimed saviour lives beneath the city and believes that he alone can liberate society from its oppressor.
“…He’s the moon, it is the sun. He’ll eclipse all that it’s done. He’ll bring renewal through destruction. He will make it see…”
It’s a story not unlike many we’ve heard before; a power-hungry, authoritarian, technologically superior force is challenged by an underground resistance, led by an ambitious and brilliant leader. It’s a concept explored in hugely popular franchises such as
Star Wars,
Harry Potter, and
Lord of the Rings. It’s meant to encourage us to think for ourselves and to subvert authority. It warns us that if we do not challenge the power structures that surround us, our whole livelihoods may be at stake. It’s not an entirely original or unique story, but rather a
timeless one; one that has been relevant throughout human history, and likely will continue to be for its remainder.
The Towers of Avarice, with a band as technically skilled and compositionally brilliant as Zero Hour at its helm, is a wholly powerful and successful iteration of that story.
“Cast into a manic mission
Lead into a blind decision
Thrown into a dark submission
They will become an omission…”
California-based progressive metal band Zero Hour were nothing less than a musical machine. Masters of their craft up until their final 2008 album,
Dark Deceiver, the band achieved an underground reputation as one of the finest modern progressive metal acts, and deservedly. On this release, the band’s remarkably tight rhythm section, comprised of guitarist/keyboardist Jasun Tipton, bassist Troy Tipton, and drummer Mike Guy, were fronted for the last time by the brilliant vocalist and keyboardist Erik Rosvold. While the last two Zero Hour albums were marked by the technically astounding vocals of Chris Salinas, Rosvold offered a strong human connection to their earlier works. He is a master storyteller, and this is showcased in every song on
The Towers of Avarice. His vocals and lyrics convey all sorts of different emotions throughout the album, from doubt (“Reflections”) to fear (“The Ghosts of Dawn”) to anger (“The Towers of Avarice”). He is a big part of why this album is so affective.
“This is a warning of no compromise
The arrogant will be made humble
The ignorant will be made wise”
Compositionally, the songs that make up the greater part of
The Towers of Avarice are as complex and technical as they are tasteful and purposeful. The most distinctive aspects of the writing are the unique rhythms and time signatures that the band uses. These rhythms are often very dissonant and jarring, but also executed with absolute metronomic precision. This creates an exciting unpredictability to the music; while some progressive bands seem to use bizarre time signatures just for the sake of it, Zero Hour’s rhythmic structures are carefully calculated, subtly assisting the narratives of each song. There is also tremendous use of colour and texture throughout this album, creating contrast and intrigue; the instrumental work ranges from dense and dissonant to lush and spacious, while Rosvold’s voice is presented both in its bare form and with all kinds of harmonisations and effects, effectively portraying the album’s characters and emotions. To complement, the production is resonant and full, allowing for all of these elements to intertwine with power, space, and clarity.
“Drop drop down and liquefy
I’ll give the world to you
Drop drop down to sanctify
I promise only truth”
There are six tracks on
The Towers of Avarice, each of which carries an essential part of the unfolding narrative. The first and second tracks – “The Towers of Avarice” and “The Subterranean” respectively – establish the two major forces of the story: the former being the force of oppression and evil, the latter being the force of rebellion and hope. “Stratagem” is a call to arms of sorts; the Subterranean preaching to his followers, rallying them for a coup against the towers in order to give them back their freedom. “Demise and Vestige” is the climax, detailing the Subterranean’s attack on the towers; meanwhile, “Reflections” is a beautiful ballad in which the Subterranean reveals his doubts and fears, finally giving way to strength and purpose in “Demise and Vestige”. The lyrics throughout the album are powerfully written, providing great insight into the Subterranean’s inner thoughts and into the stakes that he faces if he does not act.
“…the seasons change and then move on
And like yesterday you have come and gone
You have reached your end…”
The Towers of Avarice’s final track, “The Ghosts of Dawn”, is an extremely unsettling closer to the album. I won’t detail the exact plot points of this song as not to spoil it for first-time listeners, but I will reveal a few things. It’s a more symphonic piece than any of the other tracks, making excellent use of Rosvold’s keyboards and dramatic vocals. It’s also very sparse, leaving room for a sense of grim anticipation of what’s to come. There is profound fear, and dread evoked in this track, as well as a distortion of what the listener has come to know so far in the narrative. Right before the song has drawn its final breaths, we hear the darkest moment on the album; both musically and lyrically, it is an expression of the utmost regret and terror, only then to be cruelly and mercilessly silenced. This will undoubtedly bring the listener to question what they have come to believe about the album’s story, and perhaps even change their perspective on the issues that it presents.
“And now he fades away…”
