Priestess Sheds Their Skin

© Susan Moss

Since the release of their debut album, Hello, Master, in 2006, the winds of change have hit the Montreal-based band, Priestess, like an F-4 tornado blowing through a trailer park. Although remnants of their "stoner rock" foundation can be picked up on the new album, Prior to the Fire exhibits an evolution of the band’s musicianship and makes a clear statement that they are cruising, pedal-to-the-metal, in a new direction.

Priestess received plenty of well-deserved attention in the United States and Canada after the release of Hello, Master, a powerhouse album packed full of fist-pounding riffs and catchy vocal melodies to sing along to while headbanging at the front of the stage. They emerged with a distinct sound that was heavy, driving and aggressive, but successfully balanced with fun, simplistic grooves and lighthearted lyrics. This balance earned them the respect of many audiences, not only headbangers and mosh pit brawlers, which might have been the reason they were quickly booked on tours with major acts like Mastodon, Black Label Society and Megadeth. It is also worth mentioning that almost half of the songs on Hello, Master were used in video game soundtracks, including the song “Lay Down,” which makes an appearance on Guitar Hero III: Legends of Rock.

In the wake of their success with Hello, Master, Priestess recorded Prior to the Fire, a much more focused, progressive metal album that their record company to release due to its non-commercial marketability. Upon the band’s refusal to compromise the new sound to meet RCA’s demands, the two groups mutually split and Priestess was signed to Tee Pee Records, an Indie label based in New York City that works primarily with Stoner Rock and Metal bands.

Upon listening to the new album, their label's concerns might seem a bit more justified. Although the band upholds a groovy, late 60’s Rock sound reminiscent of Black Sabbath, they have pushed their boundaries into the realm of progressive metal, with a similar sound to the band Mastodon, which might disappoint old-school fans.

The opening track on Prior to the Fire, “Lady Killer,” is a good example of the new musical foundation on which Priestess is operating: shredding guitar riffs, choppy breaks, busy drum fills, odd time signatures, face-melting guitar solos and complex song structures. The result is a product of more technical musicianship than featured on Hello, Master, but not necessarily better musicianship or songs. In fact, there are a few songs that lack any sort of musical hook and are easy to skip, like “Murphy’s Law” and “The Firebird,” despite impressive technical performances by each of the four musicians.

On the other hand, some songs are infectious and must be listened to over and over, like “Lunar” and the eight-minute psychedelic rock epic, “The Gem.” Also, Prior to the Fire should come with a bold disclaimer that reads “Do not throw this album aside just yet – it will grow on you.” And it will for most die-hard Priestess fans who give themselves enough time to adjust to the new sound and acknowledge that Priestess really wanted fans to hear these songs – enough to sacrifice their record deal. Bottom line: Prior to the Fire is bold and aggressive, not just musically speaking, but principally as well.

Previous Article Next Article