The Sword are releasing album #5 amid a scene that some are insisting needs rejuvenation. Many argue otherwise, but even still, The Sword’s place within the metal scene is typically very appreciated. Their sound is often described as 70’s-influenced and its hard not to agree, especially with how much Ozzy-era Black Sabbath seem to have left their mark on these musicians. With High Country, The Sword’s fifth long player, the band expose a deeper array of influences to create a significantly different record.
I got to catch up briefly with guitarist Kyle Shutt to discuss the new album:
EatGeekPlay: The Sword definitely have a signature sound, rooted deeply in early Black Sabbath and various 70’s metal/hard rock acts. Was there a plan from the beginning to embrace and showcase that specific set of influences, or was it just happenstance?
Kyle Shutt: We are just as influenced by 70’s Hard Rock acts as we are Hip Hop acts from the 90’s or Pop acts from the 80’s or West Coast Jazz from the 50’s, music is in our blood and what comes out of our instruments is a reflection of every experience we’ve ever had in our lives.
EGP: High Country is quite a departure from the band’s, usually heavier, sound. What were you trying to capture this time around?
Shutt: Personally, I wanted to capture as many different sounds as possible instead of creating something that would be easily replicated live.
EGP: You guys have done concept albums before. Was there a specific concept behind High Country?
Shutt: No, not this time.
EGP: What are you most excited about with the new record?
Shutt: I’m excited to hit the road to support the album, we took over a year off of touring after basically being foot-to-gas for 5 years. I’m ready to play some shows!
EGP: Overall, what inspires The Sword, these days?
Shutt: These days, I’m inspired by the positive influences in my life, and I like to think that it comes through in the music we create.
The Sword have previously received labels “stoner metal,” “doom metal,” “heavy metal,” among others. With most or all of these labels being appropriate at times, this new record is certain to get at least a few people throwing out “prog rock,” too. The opening moments of High Country are surprising but set an appropriate tone for what comes after. “Unicorn Farm” a short, synth-based electronic piece could be a moment that showcases that 90’s hip hop influence Shutt mentioned.
The second track, “Empty Temples,” is a great, rumbling song that lays the rest of the foundation that this is certainly a more progressive album than anything the band have ever done. What follows is the album’s title track and first single, a song that incorporates all that the Sword are and have been, all at once. It opens with harmonizing guitars underscored by vintage synths and fuzzy bass and eventually rises to a huge chorus riff that is just plain fun.
Unfortunately, many longtime fans of the Sword, specifically fans of the band’s more pummeling and speedier pieces of previous releases, may be disappointed by the switch from headbanger’s paradise to the more intricate and dynamic approach. However, both “Buzzards” and “Ghost Eye” show that the Sword are still great at playing big, heavy riffs with catchy melodies.
One of the most notable differences heard immediately is the style of production. Vocalist JD Cronise is stripped down, vocally, and it alters his tone from the usual Ozzy-esque sound to a more Phil Lynott sound. It helps create the overall tone of the album. And while we’re on the topic, “Tears Like Diamonds” feels like the Sword took a page out of the Thin Lizzy book and then added their own walloping doom vibe to give the song’s finale some serious extra oomph.
On High Country the guitar melodies seem to take spotlight as Shutt and Cronise explore sonically by using sounds and tones that feel intentionally less heavy and much warmer. The tones are even more reminiscent of the 70’s than before and there is a lot less chugging riffs and production doubling to give the album a very raw yet vintage feel. The Sword have clearly taken strides to create something truly unique; the horn section in “Early Snow,” the synth-driven “Seriously Mysterious” and it’s fuzzy Keith Richards-esque guitar leads, and the space rock anthem “The Dreamthieves” with its jazzy guitar solo are all examples of this. The inclusion of multiple instrumental tracks, each touching on very different influences could give the impression of a concept album, although guitarist Kyle Shutt claims otherwise.
For certain old school Sword fans, High Country may be a very difficult speed bump to get over, simply because not all fans evolve alongside the bands they cherish. For others, though, this album may propel the Sword into a whole new audience, especially for fans of acts like Deep Purple, Hawkwind, Led Zeppelin, ZZ Top, and Thin Lizzy. For what High Country lacks in pummeling riffs it makes up for in melody, songwriting, and dynamics. It’s still a heavy album, but certainly not in the same way that their previous albums have felt. It’s just different, however, it seems intentional.
High Country may not be what a lot of people were expecting, or maybe hoping for, but it’s certainly worth listening to. It’s an album that gets better and better with more listens and is a lot like reading a great book. There are moments that stand out from the very first listen, but each addition play uncovers something new every time. There is a quality about the production that makes even listening to mp3 versions of the songs feel like you’re listening to vinyl. Much like many of our favorite albums from the 70’s, High Country takes you on a sonic journey that is a real adventure.
And speaking of adventure…
EGP: Anyone in The Sword a comic book fan? Any favorite books, series, or characters?
Shutt: I love every Agents of Atlas book, Ken Hale especially. And Punisher, of course.