I particularly enjoy the songs ethereal ‘outro’ final minute carried by acoustic guitar and soaring guitar feedback. The song upholds a slight progressiveness, maneuvering between verses that drift stoically to reserved guitars and an imposing refrain in which guitars rebound to a position of crucial prominence. “Choose This Day” takes the lighter and more melodic tone. Prime Sacred Warrior couldn’t do “Ancient Of Days” (and “Lost Soldier”) any better. Instrumental section runs the gamut from melodic harmonies to Ochoa’s fiery soloing. The song touches upon the momentous, with riffs of a stark and swarthy nature combining with a churning low end in which Grato and Christianson lock into a formidable groove. “Ancient Of Days” slows the tempo and ups the heaviness with its towering feel. Some darker and portent overtones rise to the surface in the process. “Lost Soldier” gets things underway to atmospheric keyboards that segue to acoustic guitar and galloping riffs, heightened by the soaring feel to Roberts’ vocal delivery but accessible in terms of the catchy feel to the bellicose refrain. The most recent Behind Enemy Lines re-issue from March of 2016 on Roxx Records was re-mastered by Ochoa and includes both songs from California Metal II in addition to two demo bonus tracks.Īlbum opens to short ‘intro’ piece “In The Beginning” (with corresponding narration from John 1:1) before moving on to what this reviewer considers three as fine a classic US power metal pieces you will find. High-end vocalist Vett Roberts helps invite comparison to Queensryche and Fates Warning, keeping in mind contemporaries Sacred Warrior deserves every bit as much consideration as does more recent acts Faith Factor, The Sacrificed and David Taylor era Jacobs Dream.īehind Enemy Lines first saw re-release on Japanese label Teichiku Records in 1994 with bonus material in the form of the two California Metal II tracks, while a second re-release on M8 Records in 2001 featured six demo bonus tracks. I always identified with the group as performing classic US power metal, albeit the previously noted aspects of melodic metal and thrash or speed metal make their presence felt along with light progressive nuances. You can count me among the numerous reviewers pleasantly surprised with both Recon and Behind Enemy Lines. We are the soldiers and the Lord wins the battles”. An interview from White Throne issue 5 found Ochoa describing the meaning of the albums title as about, “Going ‘behind enemy lines’ in enemy turf (and) proclaiming the Light of Jesus Christ and set the captives free. A deal with Intense Records ensued, which resulted in said Recon full-length debut Behind Enemy Lines. The three later recruited bassist Mike Grato and second guitarist Eddie Starline prior to recording a pair of custom cassette demos and placing the tracks “Light The Fire” and “Dreams” on the California Metal II compilation from 1988. With its name short for both reconnaissance and reconciliation, Recon arose out of the ashes of defunct Southern California bands De Roque, Prophet and Seventh Thunder when founding members guitarist George Ochoa, vocalist Vett Roberts and drummer John Christianson formed a partnership. Martin goes on to describe Recon as “a very talented and creative band that consists of musicians who are well-seasoned in various musical tastes and training”, noting how the group makes “use of classical guitar, Oberheim-sounding keyboards and traditionally non-heavy metal percussion instruments such as orchestral bells or chimes”. Dave Mutillo ( White Throne issue 7) suggested, “if you ever liked either Queensryche (in its numerous stylistic variations) or Fates Warning, you should enjoy Behind Enemy Lines”, while Larry Martin ( Heaven’s Metal issue26) reinforced, “you can’t classify (Recon) into any one category such as thrash or speed metal or melodic metal since they blend these and other in a smooth transition”. Recon pleasantly surprised critics back in the day with its “classic, polished metal sound, and their unique style in representing that sound” (as noted by Ed “Wordman” Warner in his August 1990 Take A Stand review of the groups 1990 debut Behind Enemy Lines).
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