HELION PRIME – Question Everything

Science fiction enthusiasts Helion Prime return with their third Power Metal offering Question Everything, their first with new vocalist Mary Zimmer. Zimmer’s clear annunciation and delivery is reminiscent of Anneke van Giersbergen’s (The Gathering, Ayreon) vocal style, and fans of those bands will find much to like in Question Everything‘s polished sound. There are a few guest appearances; Helion Prime’s former vocalists Sozos Michael and Heather Michele sing on the title track and John Yelland (Judicator, Dire Peril) drops the “Words Of The Abbot”. Michele also lends her lyrical talents to the release, throwing out life’s big questions in nearly every song.

There’s a wealth of musical treats on the album, unexpected flourishes and touches at various points accentuating the masterful playing such as the piano outro of “The Reawakening”, a track that also features some brilliant guitar work from Jason Ashcraft and Chad Anderson. The precise rhythm section of Alex Bosson on drums and Jeremy Steinhouse on bass provides an excellent counterpoint to the twin guitars, sometimes slowing down when the guitars speed up, and sometimes accelerating into Thrash cadences when the guitars slow down, keeping the music fresh and interesting throughout. “Words Of The Abbot” has Bosson driving the action, the rest of the band primarily playing in a relaxed pocket against his rapid-fire beat. “Forbidden Zone” takes a different approach, getting an initial launch from the twin guitars that seem to pull the drums along into the song. “Question Everything” has everyone hitting top speed at once, building the action to an epic chorus and alternating guest vocal spots supported with harmony vocals. Like the best Power Metal acts, Helion Prime use differentiated song structures, a high level of musicianship (the solos in “Question Everything” are particularly savage), and guest appearance to provide the necessary variation.

Humorously, the band revisits the Forbidden Zone by ending the album with “Kong At The Gates” and “The Forbidden Zone”, two Famous Monsters-era Misfits songs they add keyboard washes to. The covers, though interesting, lack the sonic punch of the originals, but it is gratifying to know Power Metallers like Helion Prime can be fans of Punk Metal’s two minute masterpieces as well as the lengthy epics that typify their style. The short diversion serves as a pleasant break from the weighty subject matter of the preceding songs; a bold but successful move to wrap up a highly enjoyable album.