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Helion Prime - 'Helion Prime' http://rocktopia.co.uk/media/reviews/photos/thumbnail/200x200s/ac/a8/5a/Helion-Prime-Helion-Prime-71-1498334010.jpg Hot

Added by Central Electronic Brain     June 24, 2017    
 
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An album that struggles to change gear and offer the sort of variety which makes for a more satisfying experience.

"From Science Fiction to Science Fact... and onward to Science Fun". Helion Prime may have created a new genre – Scientific Power Metal anyone? For once, judge the book, or at least the contents by its cover. The cartoon art is suitably Sci-Fi, with spacemen gunning down a part metallic dinosaur on the surface of some strange mountain strewn planet, while the band name is indeed the name of an alien planet from the 'Chronicles Of Riddick' film, which sees "The Prime" wearing their influences, not so much on their sleeves, but waving them brazenly like a huge flag.

The core duo of Jason Ashcraft and Heather Michele (who has since left to be replaced by Kayla Dixon), plus the three-piece who have come to form their band, have pulled in a lengthy guest-list to add a variety of guitar solos, vocal contributions and orchestrations to the songs. A suitably electronic scene and tone setting opening of 'Into The Alien Terrain', all atmosphere and mysterious voiceover, heralds a set that follows a melodic Heavy Rock plot with emphasis on a foundation of drum patterns which threaten to beat you into submission. It's all earnest enough, but it follows a narrow template as one song merges into another without a real discernable shift in the arrangements or styling.

Fireworks - The Ultimate Magazine For Melodic Rock Music

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'The Drake Equation' begins a run of intense and lightning-paced songs, before a thankful respite comes in the form of a carefully picked guitar at the start of 'A Place I Thought I Knew', a gazing-out-at-the-emptiness-of-space lament, the return to the refrain at the end sandwiching a return to being thrown headlong into a middle section which is back to the tried and trusted. The harsh vocal in 'You Keep What You Kill' contrasts with the heavenly ethereal voice at the start of 'Moon-Watcher' and there's a lovely minute or so of a vocal/piano intro to 'Live And Die On This Day' which suggests that the album is going to close out on some dramatic note.

However, whilst there's a lot to be said for the old maxim of "if it ain't broken why fix it", taking it too literally effectively results in an album that struggles to change gear and offer the sort of variety which makes for a more satisfying experience.

Mike Ainscoe

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