ALBUM REVIEW: Guitar Force – Victor Smolski
Coming to the metal world’s attention during his long tenure with German stalwarts RAGE, VICTOR SMOLSKI has always been regarded as a virtuosic guitarist. While Smolski’s various projects have usually been vocally-driven offerings, it’s fitting then that on his latest – Guitar Force – Victor is opting to let his guitar do the talking. The album comprises some new material, reinterpretations of RAGE and ALMANAC tracks, and, for good measure, a number of classical renditions. The result is a record of interesting, if not always completely engaging instrumental metal numbers.
From the start, it’s clear that Guitar Force is going to demand a lot of the listener’s attention skills with the opening title track clocking in at ten minutes and encompassing as many genres in the process. Guitar Force as a piece is absolutely a journey; it begins as the perfect accompaniment to riding a Harley down a highway with chunky riffs and spiralling licks boasting all the subtlety of 80s WHITESNAKE before it introduces sweeping, beautifully harmonised lead guitars. After flirting briefly with almost INTERVALS-esque fusion, the track dispenses of electric guitars for a sci-fi tinged orchestral section punctuated by flamenco guitars. Somehow, Guitar Force manages to effectively devolve into what could only be described as dramatic funk, with bouncing guitar leads backed by theatrical string stabs and power chords. It’s certainly a bold opener and undeniably an incredible showcase for Smolski’s versatility as both a player and a composer.
With a gauntlet like that thrown down, it’s hard for the rest of the material to live up to such a lofty standard. However, the album pushes forward strongly with an instrumental rendition of ALMANAC’s Bought And Sold. Replacing the somewhat generic vocal parts with Smolski’s lightning guitar playing works well, with the combination of over-the-top tapping and additional orchestral flourishes lifting the track above its initial incarnation. The following track, World Of Inspiration, is a slightly more mixed bag. As another lengthy cut spanning 15 minutes, the song marches on with some incredible guitar playing that weaves classical motifs with Luca Turilli-tinged sweeping. It’s however the orchestral accompaniment that keeps World Of Inspiration from tripping over itself, providing some much needed light and shade to a slightly over-indulgent musical tome (and the less said about the babbling baby voice samples in the middle, the better).
Self-Blinded Eyes by ALMANAC gets the instrumental treatment next. It’s an enjoyable rendition with some excellent performances, but Smolski’s deft playing doesn’t make up the loss of the original track’s excellent vocals. Another ALMANAC track, Satisfied, gets the same instrumental treatment, but with stronger results – it’s almost as if this song was always made to be a guitar-centric number.
At this point, Guitar Force decides to drop the metal façade and fully embrace Smolski’s classical influences with three J.S. BACH renditions – harkening back to the guitarist’s earlier tribute album to the composer, Majesty & Passion. Everyone’s mileage will vary here, but if you weren’t already gelling with the neoclassical stylings earlier in the record, don’t expect to be convinced now. Chapter 3 (Concert For Violin & Oboe With Orchestra) feels like a constant battle with the guitar leads getting in the way of everything else. Bourree (Suite 2) on the other hand does a great job of adding some much needed rock groove in to the original composition, where the guitar leads and beautiful string parts trade-off expertly. Menuet (Suite 2) is not so lucky, its various stylistic affectations of acoustic guitars, arpeggiated synth lines and bluesier licks feeling a bit too busy.
Guitar Force is finally capped off with a new version of Unity, from RAGE’s 2002 record of the same name. Similar to the opening track, Unity is a compelling musical showpiece that showcases the magic of a talented guitar player and, in turn, helps create some nice book-ending for the album.
Acting as an almost best-of of Smolski’s past, Guitar Force is a strong introduction to a guitarist who theoretically doesn’t need one at this point. For followers of his career, it’s certainly a kick to hear Smolski’s new takes on snapshots from his discography. However, while overflowing with some frankly incredible musicianship, Guitar Force sometimes finds itself being too demanding, with so much going on and in such long pieces, and somewhat uneven. It’s not an essential listen, but it’s sure to captivate guitar aficionados.
Rating: 7/10
Guitar Force is set for release on February 3rd via Massacre Records.
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