Fireworks Magazine Review

06/01/2012 – Paul Jerome Smith

Emanating from the Detroit, USA metro area, the six members comprising of Morrow’s Memory have produced a most entertaining debut album that they began to record in 2009 and completed last year. ‘Moving Forward’ lies on the cusp of Melodic Power Metal (MPM) and (modern) Melodic Hard Rock (MHR) and the way the album is structured might suggest an evolutionary approach through the recording process, if what we hear relates in any way to the sequence in which the tracks were laid down.

Conceptually, the album is concerned with the truism that the future will inevitably become the past, while lyrically it focuses upon regret of the passing of time and of so much of it being beyond one’s individual control. It’s an interesting approach, and so is the music, starting with one of those sub-one minute instrumental intros that you either love or hate. Personally, it’s a thumbs up for me and this one (‘Eternal Rest’) with majestic keyboard swathes suggest that the following nine tracks will also have lashings of sumptuous keyboards. The reality is very different, because until we reach the wonderful closing mini-epic length title track, the keys are resolutely (and disappointingly, perhaps) very low in the mix.

There is, however, so much else to enjoy about the songs and the performance of them that on my first time through the album I didn’t really notice Mike Fritz’s subdued keys until the piano-led intro to the stirring and bombastic ‘Moving Forward’ appeared. It’s an album that has grown and grown in my affections and I’ve come to realize how well Tony Fitchett’s voice suits the material, even when mid-album I initially thought the somewhat sombre, introspective and acoustically tinged ‘The Road’ where his voice has been subjugated in the mix, was a miscalculation. Successive listens have shown this to be exactly as intended, and the track forms something of a bridge between the generally quite aggressive modern MHR stylings encountered on either side of this.

I hope that some of you who wither at the user of “modern” are not put off giving this album a chance. The angst-infused, rifftastic ‘Abandoned’, the rather slower but wondrous ‘Taken’ and the bombastic, harmony-laden ‘Let You Down’ in the first half of the album combined with the dynamic ‘Fall In Line’, the initially understated ‘Hero In The Dark’ and the previously praised title track underpin an album where there is not a single filler.