By Lisa Marklinger
It happens in life, far more often than we’re aware of, that the sound or sight of something causes an instant, automatic physical reaction. In the case of sound—Demise of the Crown being the prosecutor—we find ourselves duly fazed. A Montreal five-piece with a love for power metal probably doesn’t seem like a sinister enough thing to do permanent damage to everything you ever thought metal is. Yet, here we are. In sheer, harmless terms, Demise of the Crown is cautiously unorthodox in it’s “genreability” and predictably impractical in piggybacking itself on anything other than regular, everyday, neighbourhood watering-hole Canadiana. That said, a pitiless checklist:
Are they musicians and was it musical? Yes, yes.
Did the drummer drum? Yes.
Did the vocals work together? No. While Bay Area thrash was a clear influence here, there was too much disconnect between the “singing” and the “screaming” to keep it in proportion.
Did every track have an okay guitar solo? Yes. Fans of noble-sounding overtures and breakdowns will find lots to discuss.
When the album ended, was it apparent that this is what Death Angel might sound like if they dropped their schtick and covered Queensryche-esque songs? Absolutely.
Maybe the bar was set too high many moons ago, but to experience a true, positive, mammalian response when the melodies hit you, you want it to be so unforgettable you forget to breathe because your face fell off.Demise of the Crown