Theocracy
Theocracy

THE REVIEW

The Theocracy is an American band founded in 2002 as a solo project by a multi-instrumentalist named Matt Smith, although after the release of the album, the lineup expanded to form a full band. The music they offer is a mix of progressive metal and power metal with lyrics inspired by Christian religion, placing this group in the White Metal category (also known as Christian Metal).

Their first and only (so far) self-titled album was released in 2003 and recorded solely by Matt Smith. The songs presented by this not-so-well-known band are very interesting, and considering that recording and composing were done by a single person tackling his first album, we can say that we are looking at a good piece of work. Matt Smith shows his skill in playing guitar, drums, bass, keyboards, and voice.

The album opens with an instrumental prelude (titled "Prelude") lasting 1 minute and 36 seconds, played on a keyboard arranged to sound almost like a string orchestra. The theme of the prelude is very calm, free, and compelling, with orchestral cymbals accompanying masterfully, accentuating the grander parts. This "Prelude" is nothing more than an introduction to the second track titled "Ichthus" which reinterprets the prelude's theme in a power style, later focusing on fast guitar picking accompanied by a neoclassical keyboard. The verse becomes very determined, and Matt Smith shows quite a good vocal ability and a timbre characteristic of power metal. A truly fine piece, perhaps the best on the album, supported by a good guitar solo (although, to be honest, it’s not exceptional) and a very striking stop where the guitar (left alone) reprises those fast picks that so characterize the piece.

The third track, "The Serpent’s Kiss" (which has nothing to do with the Symphony X song of the same name), is the first of the 3 suites on the album. It starts calmly (piano and guitar) before moving into another determined rhythm where the verse fits very well, while the tempo halves in the chorus, and a vocal choir seems to chant a full-fledged Christian church hymn. The progressive instrumental part located in the middle of the piece is really very peculiar, and at first, the drums take the lead with fast and sharp bursts, which only further harden the piece, thanks also to a very beautiful guitar solo. The progressive parts do nothing but change: the tempo changes, the rhythm changes, with very hard parts alternating with much lighter and more melodic ones. A very well-structured piece.

"Mountain" and "Theocracy" are two power tracks with some heavy tinges, very catchy but nothing more. Another interesting piece is "The Healing Hand" (the second suite of the album) with a very heavy intro to which once again choirs and a very neoclassical acoustic guitar are added shortly after. The development of the track immediately captures the listener. The guitar part, found roughly at the beginning of the third minute, is very hard and powerful. In short, it's a complete suite that has everything, even if it doesn’t rank among the very best. Noteworthy is the very good work on voices and double vocals and the arrangement from the ninth minute onward.

The first slow track of the album is found in the seventh position of the tracklist, titled "Sinner," which around the fourth minute evolves with a fairly heavy and more dynamic riff compared to the rest of the song. A generally more epic sound fills the last 2 minutes of the track, truly enriching it.

"New Jerusalem" starts off fiery, with the chorus again bringing a church choir supported by a very power instrumental base. In this song, Matt Smith demonstrates his skill in playing the guitar and drums, which fill the song with the double bass drum. Possibly the most epic track of the entire album with a musical finale. Very unique is the character of the ninth track, "The Victory Dance," which begins with a quite Oriental-sounding keyboard line before evolving into a well-rhythmed 6/8, marked by a very clear and precise guitar. Here too, there are power insights and very fascinating melodic instrumental digressions.

The album concludes with the third suite: "Twist of Fate." The start is solemn with very elaborate choral work, very determined, granite-like, heavy instrumental parts (although we are not talking about death metal or black metal, we are still in power/progressive). It stands out from the other 2 suites for incisive power and a decidedly slower tempo but without venturing into doom. Only after the rhythm becomes faster do we recognize the Theocracy we've listened to throughout the album, because new epic keyboard parts and power/progressive guitar parts alternately resurface. Only after a long instrumental part will we have the pleasure of hearing Matt Smith’s voice again, in a more power style than ever when compared to the rest of the album. A beautiful suite that listens without issues.

The Theocracy has offered us an album that reveals good skills and lets us hope for good things for the new album they are about to release. Score: 3.5 out of 5.