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Angels & Demons

What sets Rite Of Passage apart is how its independently released 2014 debut Angels & Demons stays equally true to both the ‘progressive’ and ‘metal’ side of things. If you are like me, you have encountered bands that label themselves ‘progressive’ but when you go beneath the surface are not progressive as advertised. Songs of said bands might follow a typical verse-chorus-verse format or simply be lengthier in comparison to some but otherwise are not that progressive to begin with. Not so with Rite Of Passage, who compose lengthy material - Angels & Demons features just eight songs but over 60 minutes of music - but are not afraid to imbue it with both that ‘sophisticated grandeur’ and ‘power and heaviness’ in question. Opening Angels & Demons track “Breaking Through The Walls” follows suite, flowing its length to ethereal touches but rooted on a bedrock of muscular guitars at the same time. The upshot is a laid back (if not ominous) setting that has sublime written all over it. Consider how, for instance, piano leads the way through the grand instrumental moments. The song also introduces vocalist Bill Quigley, who brings a lower register and mid-ranged delivery dressed in rich and impassioned flavorings. Credit Rite Of Passage in this capacity for not going the all too common high-pitched vocalist route. “Dream Horizon” highlights a European metal flair (sort of like Absolon). The song opens its first minute to an atmospheric blending of distant guitars and sweeping keyboards only to break out as weighty guitars kick in to fortify its uplifting verses. Impetus, nonetheless, descends to a near crawl for a placid refrain in which guitars drift in and out of the mix. Instrumentally, the song allows Kurt Spranger to showcase his flashy soloing abilities. A second instrumental excursion closing the song out even reflects a jazz fusion touch. A ticking clock joined hauntingly by keyboards and trenchant guitars begins “Before Midnight”, a track on the decidedly heavier side of things. Tumultuous is the feel as the song plows ahead, with perfectly placed eerie keyboards leading the way as an almost doom-ish tincture is obtained, particularly for the coercive refrain. Grand piano returns to underline the instrumental passage in which Spranger continues to shine. A joining of the power of Jacobs Dream with the darker character to Suspyre is the feel at hand. Also taking a heavier slant is “Change & Transition”. The song starts to piano and a breathing bass line (the work of Jon Martin cannot be understated), sustaining the slowly moving proclivities only to pick up tempo as guitars step forward for its imposing remaining distance as melancholic moments trade off with those approaching the mirthful. The multiple instrumental sections reveal the groups versatility: Able to exhibit its musicianship in a concise package but not overdue it in the progress (as can happen to some within the progressive genre). Narration from Genesis Chapter One interwoven with acoustic guitar introduces the albums title track (a medieval flair comes to the forefront in the process). A corresponding dramatic milieu can be found in “Angels & Demons”, reflected from how moving forward it includes a histrionic trade off between Quigley and backing vocals repeating the songs title and final minute featuring the original radio broadcast of the Apollo lunar landings. Momentous? Yes, but also exhibiting a creative if not experimental feel. Aptly titled “Dark Necessity” ensues, as swarthy and melancholic a piece as you will find (Do I detect a faint hint of technical metal era Deliverance?). Quigley sings at his smoothest and emotive best, interweaving with a delectable joining of pivotal guitars and grave piano. Song takes an even further reverberant turn for the instrumental moments that find eerie voices, shred soloing and serene keyboards holding sway. Lone ballad “Saying Goodbye” fits the dour setting at hand. Lighter guitar touches (in by no means a bad sense) impel things at the start, only to give way to tranquilly done passages that align with those taking the more forthright stance in which guitars return in full force. A prodigious melody rises to the surface along with a contemplative aura that co-lead vocalist Stefanie Dillard brings to the table. This is the least progressive of the albums material but good all the same. Ten minute closer represents a return to some jazzy fusion elements for its instrumental first two minutes. Remaining eight power ahead as band makes its signature statement, upholding a clamorous mood as understated melodies and technical aptitude (note the intricate timekeeping of Rob Barton) combine for a triumphant focus with good coming out on top in the end. The extended instrumental run (by far the albums best) borders on breathtaking as potent lead guitar gives way to classical instrumentation. Theocracy could not do it better.