It’s strange when a band you like goes into an extended period of inactivity. You miss them for the first few years and get impatient for new material. After 4-5 years though, you move on and eventually give up on hearing more from them. Stranger still is when a band that put you through all that abruptly returns some 20 years later with a very different sound. This is the experience I’ve had with the U.K.s Balance of Power. Active in the late 90s as a slick, hook-oriented power-prog outfit, they introduced the world to the stellar vocals of Lance King. On albums like Book of Secret and Ten More Tales, they showcased power-prog at its most sticky and anthemic. 2003s Heathen Machine was a much darker, introspective release with heavy nods to Pink Floyd and John K replaced did a great job replacing Mr. King. Then they went radio silent. 20-plus years later the band pops back up with an overhauled lineup and another new vocalist, this time Hazel Jade Rogers. Will their out-of-the-blue 6th album be a happy surprise for whatever fans are still out there? Let’s find out.
The core of the sound on Fresh from the Abyss is only occasionally recognizable as Balance of Power, and the overall style is much more radio-friendly and verging on hard/alt-rock. If I heard this album without context I doubt I would think of Balance of Power at all. Opener “Last Man Down” has some of the classic BoP charm in its DNA and there are hints of their classic style if you listen closely, but it reads more like early aughts alt-rock with Hazel Jade Rogers roaring gruffly over simple riffs and slightly cheesy keys. It’s inoffensive and mildly interesting but not much more. “Never Be Here Again” is an overwrought rocker that could have been on any early Sirenia album and fit in. The chorus sticks decently but it isn’t the kind of song I need to hear much of again. “Monster” is pure Cheese Whiz desperately trying to be accessible but coming across as rather cringey and dated.
There are a few decent songs here that show that all hope is not lost. “Abyss” is way heavier than what comes before, rocking hard and riding free with great urgency as Hazel explores the more extreme edges of her vocal range to good effect. It’s a solid song with balls and it partially redeems the album for its somnambulant first half. “Velocity” is an odd but endearing cut that starts off dark and Gothy before unveiling a dreamy, emotional chorus that sticks the landing. It reminds me of the stuff Autumn was churning out in their Altitude era and that’s a compliment. “Deadlands” is a decently spirited mover and shaker that reminds me a lot of 90s Metal Church at times. Hazel nails her vocals here and sells the song effectively. Closer “One More Time Around the Sun” is overlong at 7 minutes, but there’s a lot to like with its slow-burning energy which reminds me Royal Thunder. In fact, I’m reminded of them multiple times across the album, though a watered-down version of their more impactful style.
Hazel Jade Roger is a talented singer with a fairly broad and versatile range. When she pushes her vocals toward a more edgy, harsh delivery she shines and commands attention. Her softer delivery on “Velocity” is also quite captivating. I still prefer both Lance King and John K to her but there’s no denying her abilities. The music behind Hazel is a bit less inspired. While Balance of Power always aimed at catchy, earwormy songs, there was always a regal grandeur to what they did. That feeling of scope is all but gone on the new material. A lot of the songs feel like dated alt or nu compositions and some of it is pretty awkward. It wasn’t until the fourth song that I felt there was a chance the album could be salvaged, and that’s not a great sign. That’s not because the band lacks talent. New guitarists Chris Masimore and Stoney Wagner have chops. It’s the generic nature of the writing that causes the issues (they’ve both been replaced since recording the album at any rate). Keyboardist Julien Spreutels is sometimes a bigger factor than the guitar battery, and his frenetic runs are interesting but some of his playing is very cheesy and overweening. A mixed bag of execution across the boards.
After 20-odd years moldering in the grave, I can’t say I expected great things from Fresh from the Abyss. Between hardly sounding like the Balance of Power of old and the dated feel of some of the songs, there are significant problems that short-circuit my enjoyment. I’d recommend folks check out their Ten More Tales or Heathen Machine albums instead if you want a proper Balance. In a nutshell: not as fresh as advertised.
Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Massacre
Website: facebook.com/balanceofpowerband
Releases Worldwide: April 19th, 2024
