Helms Deep | Chasing The Dragon | Nameless Grave Records

 

 Helms Deep was founded in 2017 by Alex Sciortino, whose goal was to channel the power and energy of classic heavy metal with a foundation in '70s prog and fusion. With influences ranging from Riot and Judas Priest to obscure jazz rock, the band spent several years in preparation before officially launching. After independently releasing their debut, “Treacherous Ways,” the band was picked up by Nameless Grave Records in 2023. That album featured Mike Heller and John Gallagher as the rhythm section, with Sciortino taking on both vocals and guitar duties.

The band’s second release, "Chasing The Dragon," was developed with a broader vision. Hal Aponte replaced Heller on drums, contributing a looser and more dynamic feel, while Ray DeTone—Sciortino’s mentor—joined on second guitar. With Gallagher continuing on bass, the lineup was solidified for what would become an ambitious and complex album.

“Chasing The Dragon” presents itself as a raw and layered heavy metal album that pulls from US power metal tradition but refuses to stay in one place for too long. Songs like “Black Sefirot” and “Flight Of The Harpy” channel a sharp and urgent tone, driven by dual-guitar interplay that owes as much to European melodic phrasing as it does to American grit. The production, handled by DeTone and Sciortino, emphasizes spatial clarity. The decision to assign each guitarist a channel—DeTone on the left, Sciortino on the right—provides a vivid sense of immediacy and contrast between styles.

The rhythm section is aggressive yet elastic, with Gallagher’s bass presence often forward in the mix, adding heft without relying on distortion. Aponte’s drumming is agile and alive, swinging between precise patterns and wild fills that avoid repetition. Songs such as “Frozen Solid” and “Seventh Circle” draw on fusion and progressive structures but never lose momentum, while tracks like “Shiva’s Wrath” incorporate atypical elements such as tabla and erhu, broadening the album's atmosphere without veering into excess.

Sciortino’s vocals have taken a leap forward—stronger phrasing, more control, and better integration with the music. The vocal lines are more considered this time, often forming a counterpoint to the instrumentation rather than simply leading it. DeTone’s guitar tone and phrasing add a wild card to the band’s direction, sometimes jazzy, sometimes neoclassical, always organic.

There is an underlying roughness throughout “Chasing The Dragon,” intentional and consistent, favoring the imperfections of live playing over editing or correction. This choice gives the album a particular energy that fits its dramatic shifts and structural unpredictability. It's not immediate in the traditional sense—many parts take time to settle—but it rewards repeated listening.

The production carries weight without feeling overbearing. Mastering by Andy Van Dette adds final weight and sheen without pushing the dynamics flat. The mix is transparent enough to catch the chemistry between the players while allowing the album’s more experimental touches to unfold naturally.

"Chasing The Dragon" neither retreats into genre convention nor reaches for theatrical reinvention. It exists in a purposeful middle ground between discipline and instinct. It moves fast but never races to a conclusion. What emerges is a second album that feels lived-in and deliberate, shaped by both familiarity and personal invention. Highly recommended for fans of old Savatage, Raven, and Satan.

Score: 7.7