Musical Style: Classic Metal	Produced By: Saint
Record Label: Armor	Country Of Origin: USA
Year Released: 2006	Artist Website: Saint
Tracks: 12	Rating: 90%
Running Time: 50:11

Do not seal up the prophecies of Revelation for the time is near.
-Revelation 22:10

The book of Revelation and end times themes are two topics that have been commonly addressed throughout the history of Christian metal.  Western New York’s aptly named Revelation Project, for example, devoted the progressive metal of its 2005 Self-Titled debut to both subjects in question.  Gothic rockers Saviour Machine took the matter one step further by dedicating an entire concept series of four albums – commonly referred to as the “soundtrack to the end of the world” – to John’s book of Revelation.  The classic metal band Saint, at the same time, has also focused on end time prophecy throughout its musical history: Tracks such as “Plan 2”, “Island Prisoner” and “Time’s End” from the bands first two albums, Warriors Of The Son and Time’s End, all dripped with apocalyptic imagery, while its 1989 release Too Late For Living featured a three song series - “Returning”, “The Path” and “Through The Sky” – based upon Revelation.  When Saint returned following a fifteen year hiatus by putting out In The Battle in 2004, it also discussed topics ranging from the antichrist (“In The Battle”) to the second coming (“When”).  Which leads us to Saint’s most recent outing- The Mark.  The bands first official concept album, The Mark can best be described as a twelve track musical journey that chronologically addresses the prophecies of Revelation.  And with song titles such as “The 7th Trumpet”, “The Mark”, “Bowls Of Wrath” and “Alpha & Omega” little doubt is left as to where the band is coming from.

The Mark still finds Saint in top classic metal form.  Moving in a slightly rawer and more-stripped down musical direction when compared to Too Late For Living or even In The Battle, Saint has created a sound that cannot help but bring to mind a more polished version of its 1986 effort Time’s End.  And the comparison to Time’s End has to also come about as a direct result of the quality of the music here in that Saint has put together perhaps its most noteworthy group of songs ever.  Inspired songwriting prevails throughout the project, tracks such as “The Mark” and “Reap The Flesh” delivering a level of creativity that cannot help but draw you back to the project again and again. The Mark also stands out due to its continuity in that the album logically flows from one track to the next, but it also brings enough variety to avoid becoming a trite listen.  While Saint has penned its share of catchy hard rockers (“The Vision” and “Bowls Of Wrath”), it also delivers a faster, thrash flavored number (“The 7th Trumpet”), an instrumental (“Gog & Magog”) and even a very well done ballad (“He Reigns”).

I thought the work of guitarist Jerry Johnson (who recently departed the band) on In The Battle was great, but Dee Harrington, who performed on Too Late For Living but sat out In The Battle only to return to the band in time to re-record its debut EP Warriors Of The Son in 2004, takes things to the next level.  One of the main strengths to the project, Harrington contributes an ample amount of rhythm guitar driven energy, but it is his soloing abilities that truly stand out.  The best way to describe his playing would be a combination of Roger Moore (Gemini) and Joshua Perahia (Joshua) or a slightly faster version of Rex Carroll (Whitecross).  If you remain unconvinced then check out his work during the introduction to “Ride To Kill”, the instrumental sections of “The Mark” and “The 7th Trumpet” or “Gog & Magog” (the entire song).  Lead vocalist Josh Kramer puts forth another versatile showing.  Still contributing his trademark controlled Halford-like vocal delivery, Josh brings a slightly smoother sounding approach on “He Reigns” while exhibiting his full range by cutting loose in high pitched fashion on “The 7th Trumpet”.  The work of bassist Richard Lynch is really happening here as well, laying down perhaps some of the most pronounced bass lines of the bands seven studio album career.  Larry London rounds out the rhythm section. 

The production values to The Mark succeed laudably by capturing the bands all out raw energy without coming across muddy or unnecessarily polished.

In focusing on the book of Revelation, Saint does a good job of covering a great deal of material; let’s face facts- there is a LOT of information to be disseminated here.  (As previously stated, Saviour Machine is in the process of devoting a four CD concept series to the subject.)  Ultimately, the band puts the project over the top by strategically focusing on the key elements of the book without overwhelming the listener with detail.

The only complaint I have – and I know this is a minor one – is that I wish scriptural references had been included with the albums lyrics.  And while I really hate to nit-pick, but the lyrics contain a few too many spelling errors as well.  A band photo or two would also have been nice.

Introduced to several seconds of open air rhythm guitar, “The Spirit” is urged through its first verse by a crunchy guitar riff prior to culminating for an acoustic laced chorus reinforced by harsh sounding vocal harmonies.  “The Spirit” begins by paying tribune to the bands sophomore release Time’s End (Revelation 1):

Oh the book of prophecy
Time’s end is at hand
The writer sentenced to the rock
Sees visions of the end

But in the end focuses on the message to the seven churches (Revelation 2 & 3):

And when you’re feeling on the spot
You’re neither cool, you’re neither hot
So filthy rich, a heart of stone
Repent, seek me at the Father’s throne

“The Vision” opens to a nice guitar driven introduction before depicting the throne of heaven during its first verse
(Revelation 4):

Standing at the door
It opened to the Light
His majesty sat at the throne
A jasper stone in sight

After the song moves on to a sweeping chorus resonating just the right amount of infectious energy, it portrays the scroll and the lamb during its second and final verse (Revelation 5):

In the right hand
Books and seals abound
And no one there to open
No not one could be found

The Lamb who was broken
Was slain but yet alive Receiving power and wisdom
And holy they all cried

A touch of acoustic guitar enters the mix in time to lead the way to an extended instrumental section allowing Harrington to showcase his abilities on lead guitar.

Harrington also takes over at the start of the awesome “Ride To Kill” by delivering several seconds of radiant lead guitar work.  Advancing through its first verse at a faster, more upbeat tempo, the song evenly transitions to a vibrant and catchy hook filled chorus.  As its title implies, “Ride To Kill” deals with the opening of the first four seals as described in Revelation 6:

Look behold a white horse rides
To conquer and to curse
A second seal a call to war
The red horse rides the verse

“He Reigns” is a very fine power ballad- done Saint style!  The song slowly moves through its verse portions to a quietly played guitar line only to gain momentum as the rhythm guitar kicks in and drives a chorus giving rise to an all around worshipful feel:

Salvation belongs to our God
And to the Lamb who was slain
Salvation belongs to our God
He paid the price and now he reigns

In the end, “He Reigns” talks about the great multitude in white robes from Revelation 7:

After this I saw a multitude
From every tongue and tribe
All dressed in robes
They stood before the throne

Getting underway to a brief drum solo, a portent atmosphere is put in place as “On And On” moves ahead to a fleeting chorus in which Josh stretches and displays the full range of his voice.  Harrington again delivers the goods, adding several seconds of his trademark verdant lead guitar work.  The aptly named “On And On” paints a picture of the dreaded scorpions of Revelation 9:

The things were like scorpions
With accuracy they strike
And cries of pain would rumble
Through out the hellish night

The things were like horses
Prepared for battles end
To torment all mankind
The fruit of all their sin

The hard hitting “The 7th Trumpet” brings to mind Priest’s “Painkiller” as a direct result of Josh singing in a high, falsetto Halford-like style.  After a bass guitar solo initiates the song as the rhythm guitar crashes in and out of the mix, it moves back and forth between thrashy, double bass driven passages moving at breakneck speed and others progressing at a more even mid-tempo pace.  Give the band a great deal of credit for the creativity and determination it displays here.  Great song.  “The 7th Trumpet” draws its lyrics from Revelation 11:

Witnesses roaming and
Walking the wall
Flamethrower mouthpieces
Devourer all

Power to shut up the heavens and sky
Striking the earth with their
Plagues till they die

The albums catchy title track begins to narration from Revelation 13:18.  Saint proceeds to put its trademark energy on full display as “The Mark” marches through its first verse, an authoritative environment established as it attains an extensive chorus with a hook guaranteed to pull you in and refuse to let go.  Harrington perfectly accentuated things with his fiery lead guitar work.  “The Mark” is appropriately named:

He causes all, the great,
The small, the rich, and the poor
To take the mark upon their hand
Or buy and sell no more

Those who take the beastly brand
They’ll drink the wine of wrath
Full strength in a cup of anger
Fiery flames, a fiery path

“Bowls Of Wrath” is set in motion by a quietly played guitar line before it takes off to a driving riff and a shout from Josh.  Maintaining its guitar driven momentum during its verse portions, the song smoothly transitions to a perfect melodic flavored chorus with a message underpinning God’s authority:

Yes, O’God almighty
Righteousness your judgment brings
Tread the winepress of Your wrath
You are the King of Kings

“Bowls Of Wrath” talks abut the seven bowls of God’s wrath (Revelation 16):

A voice from the temple shouts
Pour the seven bowls
Earth dwellers with the beastly mark
Pick at malignant, loathsome sores

Swing the sickle reap the earth
Let judgment ring
To the horse’s noise, blood flows
A payment of iniquity

A drum solo opens “Babylon The Great” before a choppy riff steps forward, just the right amount of hard hitting energy pushing the song ahead until it peaks for a chorus with a huge catchy hook.  Tapering off, “Babylon The Great” moves on to an instrumental section carried by a slowly played guitar solo with an almost bluesy feel to it.  The songs subject matter is derived from Revelation 18:

Drinking the blood
Of the merchants like wine
Till you’re through
Riding the back of the beast
Distorting the truth
The wine of her passion flows freely
And given to you

Fallen, fallen Babylon
She’s Babylon the great!!!

The instrumental section at the onset of “Reap The Flesh” slows to a near doom-like crawl only to take off in a fast paced manner as Harrington adds several seconds of sharp sounding lead guitar work.  As “Reap The Flesh” quickly moves through its first verse to an edgy rhythm guitar, it points to the person of Christ (Revelation 19:11-16):

Robed with white fine linen
His bride behind the truth
He’s waging war and concerning
False prophet and the beast are through
His robe is dipped and stained with blood
His eye’s a flame of fire

The raucous chorus that follows repeats the songs title three straight times in good aggressive fashion.  “Reap The Flesh” culminates as the beast and false prophet are thrown in the lake of fire (Revelation 19:17-21):

The birds of prey they gather
The final feast delight
The scoffers and the blasphemers

They’ve got them in their sight
And now the beast and prophet thrown in the lake of fire
To burn in there eternally

“Gog & Magog” (Revelation 20:7-10) is a terrific five minute instrumental allowing Harrington to show off all his riffs and chops.  I cannot help but be reminded of “Returning” – an excellent instrumental off Too Late For Living – as the song is swiftly carried ahead by a plethora of exquisite lead guitar work.  Lynch lays down some mean sounding bass lines as well.

“Alpha & Omega” brings the album to a very satisfying conclusion.  The song advances through its first verse in an acoustic laced manner before an emotional setting is put in place as it attains a chorus drawing its lyrics from Revelation 21:6:

That He’s the Alpha and Omega
Beginning and the End
He puts the lightning in my thunder
He’s coming back again

“Alpha & Omega” talks about the river of life as portrayed in Revelation 22:

I saw the river of life
Flowing from the throne
Ending the curse of time
For everyone He’s known

The Mark finds Saint continuing to improve upon its already well rounded songwriting skills.  Again, consistent but versatile would be the correct way to describe the music here in that the album seamlessly flows from one track to the next- all the while detailing the events as portrayed in the book of Revelation.  With the exception of a few minor packaging problems, this is as good as it gets.  Destined to rank among the best albums of the year.

Review by: Andrew Rockwell

Track Listing: “The Spirit” (3:28), “The Vision” (3:58), “Ride To Kill” (3:29), “He Reigns” (4:29), “On And On” (3:13), “The 7th Trumpet” (4:09), “The Mark” (4:20), “Bowls Of Wrath” (4:24), “Babylon The Great” (4:09), “Reap The Flesh” (4:20), “Gog & Magog” (4:52), “Alpha & Omega” (5:15)

Musicians
Josh Kramer – Vocals & Guitars
Dee Harrington – Guitars
Richard Lynch – Bass
Larry London – Drums

Also Reviewed: Saint – Time’s End, Saint – In The Battle, Saint – Warriors Of The Son: 20th Anniversary Addition, Saint – Live 05, Saint - Crime Scene Earth