Cirith Ungol's HALF-PAST HUMAN - an Insider's Review

 

As many of you know, I formed a vintage-style heavy rock band, Falcon, in late 2002 in collaboration with founding Cirith Ungol multi-instrumentalistj, Greg Lindstrom. Approximately half of Falcon’s output was comprised of my originals, the other half Greg’s old CU tunes that never got a proper release. Greg left CU in 1981, but returned to the fold in their revamped lineup in 2016. Ungol released a killer comeback album, Forever Black, in 2020, which I subsequently reviewed on this here blog. I suggest you check it out here: http://unvanquishablefalcon.blogspot.com/2020/05/review-cirith-ungol-forever-black-2020.html

Rather than a typical review, this is going to be a view from the inside out. Why? Well, to put it bluntly it’s because of my friendship with Greg L., drummer Rob Garven and years of emailing with axeman Jim Barraza. I’ll tackle this topnotch EP song by song.

The opener, “Route 666” dates to 1977 or so. The original demo version was sung by Greg L. Falcon’s version appeared on our debut self-titled album, complete with the same intro of an Alfa Romeo engine revving as the original Ungol demo and this 2021 rendition. Vocalist Tim Baker does an admirable job of rendering Greg L’s lyrics – forceful and metallic. Baker’s voice is pitch-shifted to sound more demonic at several points. Barraza’s rhythm guitar tone is slightly more modern than Greg L’s, but it’s a perfect combination. Double tracked guitar solos abound – each slightly different than the other track. Barraza does plenty of justice to late guitarist Jerry Fogle's axemanship. The tune closes with some atmospheric dive-bombing guitars.

A Tolkien-inspired number, “Shelob’s Lair” - was also resurrected by Falcon. It’s the tale of Frodo Baggins and Samwise’s battle with the giant arachnid, Shelob (spawn of Ungoliant). The new-fangled version sports some extra melody-lines during the pre-choruses. The guitar tones are warm and fuzzy, and the solos are nice ‘n’ wet with delay. For a track conceived in 1975 or thereabouts, this one is ultra-heavy. The bass could be a bit higher in the mix, but that’d be nit-picking.

“Brutish Manchild” saw a release as a free flexi-disc companion to a 2020 issue of Decibel Magazine. The lyrics revolve around the post-apocalyptic theme of man-ape’s fall from grace. Some awesome use of harmonised guitar fills abound, easily as provoking as Gorham/Robertson (Lizzy) or Denner/Shermann (Mercyful Fate). I have yet to hear a Seventies rehearsal or demo tape of "Brutish Manchild". I wonder if one exists...

The title track, “Half Past Human,” further explores the doom of man-ape in Earth's waning years of the distant future. Falcon put a spin on this one, as well, back in 2003. Lyrically, it reads like something out of Clark Ashton Smith’s necromantic tales of the dying continent, Zothique – or Jack Vance’s The Dying Earth. It opens with a lush, depressive acoustic passage and a plaintive theme-like lead backed with some inventive bass licks. The early demo versions of this track, dating to 1976, lack vocals. I had no guide in singing it in Falcon beyond Greg L’s lyric sheet. Tim Baker’s approach to the vocal lines is not very far-fetched from mine. Some cool human-voice synth pads are apparent in this take, aping (pun intended) the function of an old Mellotron. The wahed-out main guitar solo is glorious and Seventies-inflected. In true Ungol-fashion, the outro is lengthened out with a massive gong-infused crescendo, showcasing Garven’s triplet-heavy drumming.

L-R: Jarvis Leatherby (bass), Jim Barraza (guitar),
Greg Lindstrom (guitar), Robert Garven (drums), Tim Baker (vocals)

Review: Cirith Ungol - FOREVER BLACK (2020)

Cirith Ungol – Forever Black Track by Track

Ordinarily I shy away from reviewing recordings by close personal friends or bandmates. It makes me look like a brown-noser. Which I certainly am not! True, Greg Lindstrom and Rob Garven are old pals of my mine (Lindstrom is also my partner in Falcon crime), but it won’t cloud my judgment on this massive album! On the other side of the coin, sometimes I prefer not to look like a prick by giving a negative critique. Hell, I’m a pro muso myself. In any case, whenever I’m writing with such sincerity and conviction I just have to say “screw it”! On rare occasions, if I prefer to remain more of less anonymous, I publish pieces under my securely guarded pseudonym.

Now, I’m not here to give you a history lesson on the oft-overlooked cult/epic heavy metal juggernaut known as Cirith Ungol. No, rough ‘n’ ready readers, this feature is going to be a celebration of a triumphant return, one hell of a comeback album for Cirith Ungol, a slumbering beast that arose from the grave in 2015, after a nearly 25-year hiatus.  CU has, since reuniting played some of the most heralded heavy metal festivals the world over, including the aptly named Frost and Fire festival in their hot and sunny hometown of Ventura, California, Germany’s Keep it True and Bang Your Head and Greece’s Up the Hammers. Yes, folks, Cirith Ungol is back! Back with a vengeance! Kudos to Mr. Garven for taking up the sticks again after he swore he’d never touch a drum kit ever again. And to all the naysayers who said CU would never grace a stage or a full-length recording again, Forever Black is a testament of blazing fire divine! Cirith Ungol has arisen and succeeded where other current “reunion bands” such as Pentagram have come up short, with milquetoast recordings and gigs. Comparatively, they don’t hold a candle to the metal might of Ungol! (Okay, mediocre Pentagram is still light-years ahead of most modern metal acts.)

L-R Leatherby, Barraza, Lindstrom, Garven & Baker

Now, let’s jump right into the flames and explore Forever Black track by track!

1. The Call
The album opens with an atmospheric instrumental prelude, complete with howling wind, timpani-style drums and what sounds akin to the bass-heavy horn blast of a warship. It seamlessly segues into the full-blown barrage of Track No 2.

2. Legions Arise

Probably one of the fastest Ungol tunes to date, a galloping gate as rhythmically rambunctious as any of Maiden’s early output. From lead guitarist Jim Barraza’s Spanish-tinged melodies and sliding octave chords to the inimitable and idiosyncratic vocals of Tim Baker, this one sounds as if it could have been cut during the King of the Dead sessions back in 1984. A battle cry for the hordes of Ungol to rise up and fight for the metal cause.

3. The Frost Monstreme.

The title is not the only thing that refers to CU’s early eighties cult classic tunes (yeah, people I’m talking “Frost and Fire”, the title cut to their debut disc). The first couple of riffs and melody fills expand upon some of CU’s past riffage. Motifs from the 1970s oldy-but-goody “Route 666” (later recorded by axeman Greg Lindstrom’s post-CU band, Falcon) and the aforementioned “Frost and Fire”. Without a doubt, this is sword & sorcery metal at its finest. This sucker would be at home on the soundtrack to a film adaptation of Fritz Leiber’s Fafhrd and Grey Mouser fantasy novel Swords and Ice Magic. It boasts a Seventies-tinged bridge, rife with drummer Rob Garven’s righteously cool cowbell. Garven also kicks some thunderous double-bass during the lead break. If you close your eyes during the solo, you’d think you were listening to fallen founding axeman Jerry Fogle.

4. The Fire Divine

The verse is a vivacious return to CU’s roots – the influence of immortal rawkers Thin Lizzy. A little birdy told me that some of Greg Lindstrom’s lyrics were originally meant for a Falcon tune. A Lizzy-esque dual guitar harmony section spices things up even more.

5. Stormbringer

No, it’s not a cover of the Deep Purple track of the same name. Here you’ll find a tune inspired by modern British fantasy author Michael Moorcock’s Elric novels. Just as the other 4 CU studio albums, Forever Black is adorned with one of Michael Whelan’s masterful Elric paintings. Stormbringer is the name of Elric’s fabled sword, the evil artifact which slays all in its path – that is until it becomes satiated. CU isn’t alone. Blue Oyster Cult’s Eric Bloom and Moorcock penned a tune for their Cultosaurus Erectus LP called “Black Blade”. A despondent clean-tone arpeggiated guitar intro ushers us headlong into the meat-and-potatoes verse and melodic prelude solo courtesy of Barraza. At first, Baker’s vocals are more emotive than his usual metallic shriek. The tempo is doomy and the chorus boasts some vocal layering from the rest of the Ungol camp – uttering “The Blade and I are one!”

6.  Fractus Promissum

A super-sweet melodic intro gives way to another Lizzy-tinged but nonetheless original number. Barraza’s wahed-out solos are dead on the mark, as is the swinging, tremendous backbeat of Garven’s cannon-like drums.

7. Nightmare

A boisterous Baker howl introduces the doom-laden and diminished proceedings. Yes, a bit Sabbathy, yet still somehow CU’s own. Easily could’ve been recorded during the One Foot in Hell sessions. Barraza delivers yet another haunting Spanish/Middle Eastern half-step steeped solo. His outro leadwork conjures up the ghost of the late Randy Rhoads.

8. Before Tomorrow

Oozing with catchiness, “Before Tomorrow” begins with an infectious pedal-tone riff and a Jerry Fogle-ish solo. Classic pounding metal musings and mayhem! Lyrically, this is very poignant, considering the global Coronavirus pandemic. Greg Lindstrom’s warm and fuzzy guitar tone is soothing and sweet yet rocks hard and sublimely.

9. Forever Black

The title track. It’s doomy as hell and boasts some grinding bass interplay by Ungol newbie Jarvis Leatherby (also the band’s manager and the impetus for the band’s resurrection).

While you're at it, don't forget to check out "Brutish Manchild", one of CU's forgotten gems originally written in the late seventies!