SPELL

With guitars perfectly tuned to 1983, soaring melodic vocals and an organic production, ‘For None And All’ sets its stall out as a highly competent traditional heavy metal album by the first chorus. But what would satisfy many bands in the current trad metal crop is just the starting point for Spell on their second album.

Tastefully embellished with John Carpenter-sounding synths and eerie choral vocals, ‘For None And All’ attempts something much braver than a timid retreading of the well-beaten path to trad metal glory. The vast expanses of sound found on album highlight ‘Vanitas’ and synth-led passages on ‘Too Late’ bring new colour to the heavy metal palate and replenish the original power of the classic heavy metal forms that many can only wield as cliché.

Though clearly a well-thought out record with much to enjoy in its multiple layers of sound, at no point does ‘For None…’ forget to rock, with each one of the ten tracks packed with great riffs. Playing an ‘old’ style there are plenty of blueprints to draw from but rarely is it executed as well as as Spell do on triumphant opener ‘Madame Psychosis’ or album midpoint ‘The Veil’. The slower tracks are no less exhilarating with the twin harmonic twin guitars on ‘River Of Sleep’ transporting the listener not just to metal’s nostalgic glory days but to the timeless mystic genesis of heavy metal consciousness- it’s great stuff!

Another great release from the UK’s Bad Omen and one that will surely see Spell climbing the ranks. - Iron Fist Magazine

Spell is certainly an apt moniker for this relatively new power trio from Vancouver, BC. The first time I encountered the For None And All artwork whilst doing a spot of band browsing, I was honestly blown away by the mystique, the smoke, the nods to the supernatural world and those contrasts of distorted light and hellish darkness that beckoned me into the depths of the void. “Shaman Lee! Send me forth the tapes!!” I cried wolf-like into the skies upon a full moon (he didn’t hear me so I sent him an email instead…) and I was soon thus ready to be engulfed by Spell’s second recorded ritual.

Except that engulfment never really happened. The spell of Adam Burke’s cover artwork was probably the closest I came to being enchanted by the longhaired Canadian trio’s sophomore effort. There’s nothing wrong with For None And All, per se. It’s a solid wallop of fairly hard-hitting NWOBHM riffery, galloping Maiden-alike basslines and stays true to its authentic credentials by being recorded entirely, and directly, to analogue tape. The problem is, I feel like Spell are simply skipping back over all the pathways already very well-trodden initially by the crème-de-la-crème of classic metal, then by the copycat, hanger-on bands of the mid-80s and again more recently during the widespread New Wave of Trad Heavy Metal revival that cropped up in around 2010, helmed by the likes of White Wizzard, Cauldron, Enforcer, Holy Grail and Steelwing.

Opener Madame Psychosis leads off with those familiar widdly-widdly dual guitar motifs straddling a chugging bassline and simple but chunky drumwork. Vocalist/bassist Cam Mesmer has one of those voices that strives to land somewhere in the middle of Dio, King Diamond, Bruce Dickinson, BÖC’s Eric Bloom and Budgie’s Burke Shelley. Which sounds great, but the problem comes when you realise that Cauldron’s Jason Decay already aimed for, and arguably delivered, on that formula several years ago. Try as I might, I just can’t split Mesmer’s voice from Decay’s and with the added insight that both bands are Canadian, it’s tough to ignore Spell’s such stark similarities in sound to Cauldron and White Wizzard across the board. The Veil in particular is agonisingly close in riffing, tone, structure, understated-to-quickly-soaring vocal lines and, well, everything else to Cauldron’s (in)famous single Chained Up In Chains to the point at which I have to double back in my research to check that the band’s members don’t somehow cross over.

Whipping Sigils carries a punkier bounce but is essentially more of the same. Too Late attempts some Jimmy Page-esque scorched feedback atop a UFO-like classic rock chassis. Dark Desires nicks the cymbal and tom intro directly from Iron Maiden’s Run To The Hills and proceeds to overlay it with some King Diamond-echoing screeched vocals and another loud bout of proto-metal riffage.

The more interesting cuts on For None And All come with the swaggering The Sickness Unto Death, the slower, early Judas Priest rumble of River Of Sleep and the atmosphere generating, synth-backed instrumental Séance. Closer The Sphinx is another instrumental which granted does evoke some eerie, warped stylistics but this one oddly feels like it could actually benefit from some vocals to tell the story of whatever this particular sphinx has lurking in its forgotten tomb.

Spell will be comfortable and well at home on Bad Omen Records, but frankly For None And All lacks the bite and hunger of their label-mates Flight, CC Company or Amulet and doesn’t generate anything close to the sense of hippie weirdo innovation that Satan’s Satyrs manage to summon forth. If you like your classic rock played with galloping rhythms and syrupy-sweet vox, look no further than these fresh Vancouver upstarts, but make no mistake, this is just a further dose of all the retro rock you’ve already heard before. Personally, if push came to shove I’d invest my vinyl funds in the more recent Cauldron and Enforcer output, or hell, just go back and listen to Abigail, Holy Diver or Sad Wings Of Destiny one more time. It’s the same riffs, just three or four decades later. - The Sleeping Shaman

Remember when Blue Oyster Cult were referred to as “thinking man’s metal”? Well with ‘For None And All’, the second full-length album from Vancouver power trio Spell, that description may just be apt - a Cultasaurus Ressurectus if you will.

With titles like ‘Whipping Sigils’, ‘The Veil’, ‘Dark Desires’ and ‘Vanitas’, the influence of BOC is clearly present, especially on the very BOC flavoured ‘Whipping Sigils’, ‘Vanitas’ and ‘The Sphinx’. It’s influence rather than pastiche though, and in my book if you’re going to be influenced by a ‘70s American hard rock band, there aren’t many better than Eric Bloom and the boys. In truth, the BOC influence is only part of the story here, and Spell mix that up with metal, both of the American and NWOBHM varieties, making them an altogether heavier prospect. This is evidenced to particularly good effect on the almost epic ‘The Veil’, which features the twin guitar licks of early Iron Maiden fused with some big Randy Rhoads riffery - two traits that rear their heads in many places on the album.

There’s some strong songs here, notably the catchy opener ‘Madame Psychosis’ and some pretty inventive off the wall stuff too such as the twisting and turning ‘Too Late’. Good use is made of the synths, casting an eerie vibe in places, and adding to those BOC comparisons, as well as the odd Uriah Heep-esque high pitched choral vocal.

Musically Spell are brave, inventive and tread a very different path down the well-trodden heavy metal route. What lets it down a bit for me is the lead vocal, which to my ears would sit better in some kind of shouty post-punk art rock band rather than an artistic metal band such as this.

Still, if you’re a fan of the aforementioned BOC and their ilk, and fancy the idea of some “thinking man’s metal”, Spell may just provide the brain food you need. - Uber Rock

Vancouver’s Spell managed to impress me with their 2014 debut but their sophomore full length easily established them as one of the Canadian best heavy metal/rock band. The trio, something obviously noticeable simply by the way they look (another example of this would be Kadavar), doesn’t really like the aesthetics and sonority found in modern metal and that's totally fine!

Mixing the quasi metallic approach of Rush’s classic second album Fly By Night with a fair share of psychedelic elements, Canadian heavy metal (think of Cauldron who also released a solid album this year) and even some progressive rock, Spell manage to stay super catchy and cohesive. While not totally heavy, their proto metal hits the spot with tight songwriting and musicianship. The inclusion of keyboards on some tracks (like “Too Late” or the interlude “Séance”) is enjoyable and adds a complex side to the band’s identity. The weakest spot for me would be the vocals, they’re a bit too vanilla and glam for my taste but they do fit the band. I must say he’s really freaking good on the doomy (and possibly the highlight of the record) “River of Sleep” though, he almost sounds like Jean-Pierre Abboud (Borrowed Time, Funeral Circle, Gatekeeper…) on this song.

The production job is warm and old school (obviously) and even if there’s only one guitarist, there’s many guitar tracks to give a richer atmosphere. It’s a pretty lush record with engaging riffs and well composed tracks. Sure, they’re perhaps not as good as Rush are but no one are!

They sometimes unleash some epic moments such as the ninth track “Vanitas” and its groovy bass lines and soulful guitar solos but they never go overboard (maybe they should?) as they keep the record tidy and straight forward. Spell, although a solid band, are a product of their times as they’re evolving in the current wave of occult heavy/rock bands but they’re definitely one of the most interesting players and are deserving your time and money. - Encyclopedia Metallum

The press materials for Canadian metallers Spell make it clear that the band not only sound like they're from the early '80s, but they're also proud of it. Citing Judas Priest and early Scorpions as key influences, listening to the power trio's sophomore album, For None and All, also brings to mind Mercyful Fate and many NWOBHM bands.

Spell bassist/vocalist Cam Mesmer has an interesting vocal delivery style, throwing a bit of vibrato into the mix from time to time, but never overdoing it. Musically, For None All contains stuff that falls under the trad metal flag, while songs like "Too Late" and "The Sickness Unto Death" include more hard rock-infused arrangements. In the hooks department, the trio offers up some memorable vocal and riff earworms. That latter aspect of Spell is the most appealing trait of their sound. When it comes to hooky parts, these Cannucks know what they're doing.

With For None and All, Spell have joined bands like Christian Mistress and High Spirits in bringing a fresh energy to an older metal sound. - No Echo

When it comes to modern-day traditional heavy metal, hardly anyone can deny or argue against Canada’s status as world leaders in the genre, with bands like Striker, Skull Fist, Cauldron, Axxion, Iron Kingdom and many others marching triumphantly in their respective conquests to keep the old school alive. Adding to the crop of such bands, Vancouver BC trio Spell existed as Stryker for a few years before changing their name in 2013 and releasing the debut Spell full-length ‘The Full Moon Sessions’ in 2014. Now they are ready to release the follow-up LP ‘For None And All’ on May 27 2016 via Bad Omen Records, another potential treat for old-school metalheads constantly seeking new bands with the old sound.

The 10-track album spans a duration of 45 minutes and while it’s very much akin to the stylings of traditional metal, it carries an unmistakably dark vibe, perhaps more so than the material put out by Spell’s peers (Canadian and otherwise), and this is what distinguishes them from those bands. The vocals definitely have that Canadian old-school feel and draw similarities with contemporaries like Jason Decay (Cauldron) and Jackie Slaughter (Skull Fist), that said, the singing is distinct enough to be recognized as the voice behind Spell. The combination of the singing style and guitar work creates the dark, downbeat expression that dominates the album, and often comes across as somber and at times melancholic. ‘For None And All’ is by no means your soundtrack for a fun-filled party hangout, and is certainly more of a mood-specific offering, which further justifies its title.

‘For None And All’ demonstrates that for a three-piece, Spell are appreciably melodic and full-sounding, and even though the album lands on a monotonic plateau early and stays there for nearly its entirety, the melodic nature of the music is clearly noticeable. The brilliantly titled ’Madame Psychosis’ is a compelling opening track and arguably the best song, while ‘Whipping Sigils’ also presents some catchy guitar parts to keep the listener interested. Tunes like ‘Too Late’, ‘The Sickness Unto Death’ and ‘River Of Sleep’ establish the generally downtempo pace of the album. ‘Se¦üance’ is a trippy instrumental and is followed by two of the finest compositions on here, ‘Dark Desires’ and ‘Vanitias’, before the eerie instrumental ‘Sphinx’ brings ‘For None And All’ to a close.

‘For None And All’ is an intriguing piece of work, not powerful and compelling in an obvious way but possessing a great degree of expression in its melodies and painting quite the mental landscape with its arrangements. Spell would clearly mesh with doom-tinged bands in lineups for shows and/or tours much more so than with thrash or power metal bands, and this album puts Spell in that category to a greater extent than the debut LP.

Spell’s ‘For None And All’ dares to differ and challenges the listener, but comes as a release worth delving into. - Metal Assault

Vancouver’s Spell managed to impress me with their 2014 debut but their sophomore full length easily established them as one of the Canadian best heavy metal/rock band. The trio, something obviously noticeable simply by the way they look (another example of this would be Kadavar), doesn’t really like the aesthetics and sonority found in modern metal and that’s totally fine!

Mixing the quasi metallic approach of Rush’s classic second album Fly By Night with a fair share of psychedelic elements, Canadian heavy metal (think of Cauldron who also released a solid album this year) and even some progressive rock, Spell manage to stay super catchy and cohesive. While not totally heavy, their proto metal hits the spot with tight songwriting and musicianship. The inclusion of keyboards on some tracks (like “Too Late” or the interlude “Séance”) is enjoyable and adds a complex side to the band’s identity. The weakest spot for me would be the vocals, they’re a bit too vanilla and glam for my taste but they do fit the band. I must say he’s really freaking good on the doomy (and possibly the highlight of the record) “River of Sleep” though, he almost sounds like Jean-Pierre Abboud (Borrowed Time, Funeral Circle, Gatekeeper…) on this song.

The production job is warm and old school (obviously) and even if there’s only one guitarist, there’s many guitar tracks to give a richer atmosphere. It’s a pretty lush record with engaging riffs and well composed tracks. Sure, they’re perhaps not as good as Rush are but no one are!

They sometimes unleash some epic moments such as the ninth track “Vanitas” and its groovy bass lines and soulful guitar solos but they never go overboard (maybe they should?) as they keep the record tidy and straight forward. Spell, although a solid band, are a product of their times as they’re evolving in the current wave of occult heavy/rock bands but they’re definitely one of the most interesting players and are deserving your time and money. - The Metal Observer

By Sarah Kitteringham

Spell’s second album For None And All is available for pre-order from Bad Omen Records (http://spell.bad-omen-records.com/). Pick up your copy today and stream the album below.

The sonic territory covered by Vancouver’s Spell on their follow-up to 2014’s The Full Moon Sessions is quite frankly astounding. While their debut had a rough, if occasionally awkward, charm that somewhat perpetuated the sonic territory covered by their previous band Stryker, the newest offering by the trio is a huge leap forward. The unusual spoken word/high crooning style of vocalist Cam Mesmer remains largely the same, while the rich atmospherics offer a depth previously unavailable to the band.

Opening with the galloping riff of “Madame Psychosis,” the music immediately exudes richness. With a nicely balanced mix, the trio skirts integrates progressive, psychedelic, and classic metal elements, complete with warmth and dynamics exacerbated by the fact the album was exclusively recorded live to analog tape. Truly, the creation of For None and All was an exercise in precision and intimacy, completed while the band lived in a farmhouse.

“The Sickness Unto Death” is a particular highlight with its unusual synthesizers and guitar licks. The lengthy solo provides a ripping reprieve from other, more communal sections, while the layered vocals parlay an existential loneliness heightened by the thematic lyrics. The instrumental “Séance” is also entrancing, providing an eerie and occasionally jarring segue that eventually is dominated by wavering keys before seguing into driving follower “The Veil.” The track has particularly impact due to husky spoken word lyrics that lay just below Mesmer’s higher crooning.

Released by Bad Omen Records, For None and All is a triumph. Simultaneously sounding old and new, the album offers new highlights with each listen. Spell is more than perfectly fitted to a city that boasts Order of the Solar Temple, Gatekeeper, Mitochondrion, Ahna, Auroch, and numerous more gems in its collective witches brew. - Beatroute