Fortress Showcases Protest the Hero's Growth as Musicians

Heavy electrical guitars combined with complex hammer-on techniques, brutal lyrics, and epic breakdowns are some of the many admirable qualities of Protest the Hero’s second album, Fortress (2008). Protest the Hero is a progressive metal band from Ontario, Canada, and they always attempt new styles and techniques with every album. Their first album, Kezia (2005), had heavier yet underdeveloped percussion accompanying the complex guitars, more slower-paced movements within each song, and no vocal screaming. This first album was also mostly written when the band was in high school. Fortress, on the other hand, is significantly heavier and more technical than the band’s first album. Moe Carlson’s drumming is still a vital component on the album, but the fervor of the guitars stand out. Lead guitarist Luke Hoskin and rhythm guitarist Tim Millar blend their riffs together to complement the groovy bass playing of Arif Mirabdolbaghi. Vocalist Rody Walker screams in most of the tracks on Fortress, which is a huge change for him while considering his harmonious vocals on Kezia. Rody’s guttural growls and experimental singing styles are what add zest to Fortress. His expanded range and fierce vocals and lyrics make this an epic metal album, and Fortress is proof that the band has matured immensely since the release of its first album.

            The first track on the album, “Bloodmeat,” is also the album’s first single. It commences with a colorful blend of instrumentals and an early low-percussional breakdown. It is a catchy song and the instrumentals and vocals are impressive. The earnest singing of the chorus, “A thousand fathers killed / A thousand virgin daughters spread / With swords still wet, with swords still wet / With the blood of their dead,” along with the instrumentals are the most memorable parts of this song. The lyrics of this song encompass the conquest of Genghis Khan and the lives he and his army violently put to an end. Just when listeners think the song ends, it erupts into a surprise heavy and gruesome breakdown that leaves them impressed.

            The third song, “Bone Marrow,” starts with melodic percussion and gypsy-like chimes, and the percussions gradually grow heavier. This song truly shows off Moe’s drumming skills while still appreciating the technical guitars and funky bass. Lyrically, the best part of the song is the repetition of “the royalty must die” towards the end of the song as well as “Those who ride against us / Will be murdered where they stand / let our arrows rain from sky / To drain the blood into the land.” Just as listeners think the song will end too abruptly, a piano is played softly accompanied by an acoustic guitar. The piano is a very nice touch to the song and a great way to end it because it shows just how varied Protest the Hero can be. A metal song with violent lyrics about people being decapitated can end in a beautiful manner.

            “Limb from Limb,” the sixth track, has an extravagant beginning lyrically. It begins with “Split the sky asunder,” which is accompanied by multifaceted guitars. The way Rody sings these first four words is attention-grabbing, and there is just something appealing about the idea of splitting the sky because it is impossible. This track embodies the album’s theme of Irish mythology and goddess worship. The song describes Flidais, the Irish goddess of the forest, and is another example of a heavier song. The double-pedalling of the drums adds to the heaviest moments. It is unfortunate the band chose to have Dragonforce’s keyboardist Vadim Pruzhanov contribute to the song. Vadim’s keyboarding taints the song because it is overwhelmingly too videogame-eque. The song would be better off without it because it contributes nothing artistically.

            “Spoils” is the seventh song on the album and has a theatrical touch to it. It describes the complications of words:  “Language is the heart's lament / A weak attempt to circumvent the
loneliness inherent in the search for permanence.” The beginning of the song could be better because the first few seconds sound like they were taken from a video game. The song quickly redeems itself by slipping into a deep weighted tune. The first two minutes of the song are purely progressive metal, then the song flips and has an impressive theatrical moment while still retaining its metal roots. “Spoils” ends with delicate and beautiful piano solo. Protest the Hero is able to blend their various styles and influences naturally in this piece.

            Although Protest the Hero has grown immensely since the release of their first album in terms of musical and vocal techniques, there is still room for improvement. Fortress is evidence of the band’s impressive development and foreshadows future successes. The variation of musical styles in each song shows why Protest the Hero are a progressive metal band; they are moving forward and varying their music to make it truly unique in a world where music is losing its individuality.