If you haven’t been able to tell by our album reviews, concert reviews, retrospectives, and multiple interviews with bandleader John Gallagher (four and counting!), we pride ourselves on being rather diehard Raven lunatics. If it has anything to do with the brothers Gallagher (not the Dying Fetus ones or those Oasis wankers, mind you), chances are we’re there gung ho. And yet it wasn’t until some point last year that I found out the elder Gallagher had become involved in a new project named Helms Deep, who had quietly released an album in 2023 entitled Treacherous Ways. Being as musically overwhelmed as I am, it was one of those albums I threw in the “to check out later” pile, only to never get around to it. So upon the announcement of the band’s sophomore album, Chasing the Dragon, I figured, “Better not let this one slip on by like the debut!”
For context, Helms Deep is the brainchild of singer and guitarist Alex Sciortino. Gallagher returns on bass and backing vocals for this here second effort, while the lineup is rounded out by newcomers Ray DeTone (Paul Di’Anno) on guitars and Hal Aponte (Ice Age) on drums. Now I already know what you’re thinking. “Oh great, another record label concocted supergroup. Just what the world needs.” Indeed, upon surface glance, Helms Deep does give off some “supergroup” vibes. However, if this is indeed a supergroup, they’re the most super that has crossed my path since Sumerlands. While most traditional metal acts attempt to recreate the sound and spirit of the ’80s, Chasing the Dragon doesn’t sound like a cheap replica of the era, but rather the real deal. From start to finish, this is a masterclass in US steel, jam-packed with thrilling songs, progressive musicianship, and a full production highlighting every last instrumental nuance.
The opening “Black Sefirot” blazes through our speakers with the vengeance and fury of an ancient Jag Panzer hymn. Sciortino’s vocals are gruff and merciless, reminiscent of Harry “The Tyrant” Conklin, while Gallagher’s backing shrieks, a staple since 1981, are the icing on this metallic cake. Equally of note is the warring riffage and intricately melodic soloing, the latter of which sees Sciortino and DeTone trade licks like Tipton and Downing in their heyday. Indeed, the lion’s share of the songs fall into this USPM vein, yet without ever blurring into each other or sounding one-dimensional. The banging power/speed of the title track and “Flight of the Harpy” gives off Thundersteel era Riot vibes, while enthralling ragers like “Craze of the Vampire” and “Necessary Evil” meld USPM might with the epic maneuvers of Manilla Road and other cult obscurities.
Not that this album “needs” a palette cleanser per se, but I can’t help but feel a straightaway fist-pumper like “Cursed” serves such a purpose, especially amidst such ambitious fare, which really takes hold come Chasing the Dragon‘s back half. Now when I described the musicianship as progressive earlier in this review, I didn’t mean it in a wanky, emotionless, Dream Theater manner, but rather an old school, soulful, Budgie on an acid trip sort of way, which makes sense considering Gallagher’s musical background. Fuse these nuances with textbook ’80s USPM worship, and you’ve got one hell of combo, one which shines on cuts like “Red Planet” and “Seventh Circle”.
What’s perhaps most remarkable of all, and a real testament to the strength of the songwriting and musicianship, is that Chasing the Dragon manages to clock in at just under an hour runtime, yet feels like a breeze. A cheap act of “filling the CD”, a practice I’ve lamented alongside Gallagher himself, this is not. Chasing the Dragon is all killer, no filler from top to bottom, and the first album of the year contender I’ve stumbled upon in quite a few months. Indeed, it just may be that every album I review from this point onwards will be chasing Chasing the Dragon!
10 out of 10
Label: Nameless Grave Records
Genre: Power Metal
For fans of: Omen, Jag Panzer, Riot