Review: Flame Imperishable – Glory and Ruin

Style: Power/Prog (clean vocals)
Recommended for fans of: Unleash the Archers, Blind Guardian
Review by: Andy
Country: United States–Texas
Release date: 19 August, 2022

I like physics more than chemistry, but I can’t deny the importance of band chemistry to a group seeking to perform at their peak. Look at the reactions to Dream Theater in the post-Mike era: Just a slight change to the molecules making up a band can create catastrophic results like that old joke about a science student dying after drinking some H2O too. Regardless of my trite chem jokes, Flame Imperishable come straight from Texas with their debut release, Glory and Ruin, and feature an interesting band relationship–that of spouses. Jennifer Greenberg fronts the band with pleasantly operatic cleans while her husband Jason Lee takes up the instrumental duties on drums, guitars, and bass. Does writing an album while married lead to an ideal dynamic duo, or do fights over whose turn it is to take out the trash surface in the music? 

Dispelling any notion that nepotism prevented hiring someone better suited for the job, “The Halls of Waiting (Oblivion)” is the strongest power metal track I have heard yet this year, the vocals and instrumentals both absolutely fantastic. Starting with a meandering acoustic intro, Flame Imperishable kick the song into high gear with soaring guitar lines atop solidly impressive riff-work and belted female soprano vocals. At points, the instrumentals sound wholly black metal, leading the track to feel even more like “Meridiem” by Tanagra in its expansive and proggy epicness. Even a purring bass peeks through the rest of the melodic riffs and solos, providing more intricate layers to the album. Interspersed with highlights like the a cappella ending of “Slavebranded,” Glory and Ruin keeps the momentum from the first track (hard to avoid *some* physics references) with some more catchy and energetic power metal; however, Flame Imperishable switches polarity and slows the pace down a little bit for The Legend of Zelda: Breath of the Wild themed power ballad “Shrine of Resurrection.” The integration (avoiding references to non chem disciplines is harder than it seems) of the Zelda melodies along with a to-die-for guitar tone and dreamy bass lines in “Shrine of Resurrection” prove the band can slow it down to great effect. 

The main problem with the album surfaces most prominently in “Shrine of Ressurrection,” though, as Jennifer’s pretty voice is drenched in too much reverb, taking away the gracefulness of her delivery. The production on her vocals don’t do them too many favors throughout the rest of the album either: She is often pushed too deep in the mix, her soft vocal style overwhelmed by the power of the metal. When she belts like on “The Halls of Waiting (Oblivion)” or when her vocals aren’t drowned by instruments as in the quiet parts of “The Scarlet Gale,” her voice shines like a diamond, but her vocals often seem overly comfortable, lacking the pressure to let her shine as bright as she can at all times.

The instrumental performances, in contrast, are firing on all cylinders at all times. Jason Lee can absolutely rip out solos and riffs on a guitar like André Olbrich (Blind Guardian), and that he also takes up drumming duties so successfully–far beyond mere competence–is extremely impressive. Flame Imperishable even switch gears to a more true prog metal during tracks like “Bregalad’s Lament,” a calm saxophone interlude, sounding almost out of place on a power metal release; however, the track features such wonderful playing it doesn’t at all overstay its welcome. The sax remains in the next track “The Herald’s Approach,” which continues in a proggier manner, the vocals in an almost rap-like cadence during the chorus.  

Glory and Ruin is a dense affair with countless highlights. Periodically (pun intended) achieving excellence, this spousal duo clearly have all the chops and heart to write bombastic power/prog: I didn’t even mention the epic finale track featuring Judicator’s John Yelland, providing twisting storytelling and interesting vocal dynamics. Flame Imperishable are going to be a power/prog institution, and they clearly have the chemistry that many other bands lack.

Recommended tracks: The Halls of Waiting (Oblivion), Shrine of Ressurection, The Scarlet Gale
You may also like: Tanagra, Dimhav, Articulus, Judicator
Final verdict: 7.5/10

Related links: Bandcamp | Spotify | YouTube | Facebook | Instagram | Metal-Archives page
Label: Independent

Flame Imperishable is:
– Jason Lee Greenberg (guitar, bass, drums)
– Jennifer Greenberg (vocals)

With

– John Yellend (vocals track 9)
– Valerie Hartzell (classical guitar, track 10)
– Gregg Rossetti (saxophone, keyboards, orchestration, and bass track 4)
– Drew Creel (lead guitar tracks 6 and 7)