ABSOLON – In The Halls Of Silence (2025) *HQ*
We have been following the career of American rockers ABSOLON, a band heavily influenced by the melodic metal / progressive style of ’80s Queensryche, Crimson Glory, Judas Priest – with all members being experienced musicians such as founder & vocalist Ken Pike, front man for hard rockers Malachia and cult AOR band Vital Signs back in the mid ’80s.
“In The Halls Of Silence” is the new ABSOLON album, a fresh exploration of these classic sounds, songs split between traditional hard rockers with melodic progressive hooks, and atmospheric calmer tracks with keys and clean sharp guitars.
Futuristic keyboards open the album with “Stand in the Spotlight,” immediately giving way to sharp riffs and a powerful, steady drumbeat throughout the track. Guitar solos appear recurrently, providing a very Heavy Metal character and reinforcing a sense of continuous drive. Ken Pike’s commanding voice is the driving force from the first minute, an opener that serves as a declaration of intent and leaves the listener eager to continue through the album.
“Kill the Lights” starts with a shattering of glass, this time a song with a slightly faster rhythm than the previous cut thanks to the use of double bass. Unlike “Stand in the Spotlight,” here the keyboards take center stage and are supported by choruses that provide a more atmospheric and epic ambiance.
The title track “In the Halls of Silence” begins with a dark piano line, soon joined by the vocals conveying a clear sense of sorrow. The pulse quickly accelerates with the entry of the other instruments, though it never loses that melancholic aura that envelops everything. The track moves in a clearly introspective territory, with the keyboards providing a solemn and almost ceremonial air, while the guitars build an elegant development that gradually grows and ultimately leaves a mark. It is a midtempo piece introducing something new for ABSOLON: a slightly Gothic feel. And works very well.
With “Light the Flame” the album recovers a more cheerful and bright rhythm. The guitar shines sharp again, possibly delivering the best solo of the album. The track closes with an unexpected twist, as when everything points to a powerful ending, the gloomy piano appears, as if darkness were ultimately imposing itself and reminding that light is never entirely safe.
“House on the Hill” is another fast track where the bass sounds thunderous, providing alongside the drums a powerful support for epic choruses and a guitar licks so elaborated that verge on constant solos fueling the track. The voice adopts a deeper register, providing an intense and narrative tone, while the guitar solo again shows mastery, elevating the whole thing even further.
Heavy riffs and orchestral sounds open “Til Death Do Us Part,” showcasing from the outset a dense vibe. These elements repeat throughout the track, building a climate that sounds hard n’ heavy, in clear contrast to the clean and more controlled voice. The vocal performance stands out particularly, supported by a clever instrumentation.
“No Goodbyes” begins with a car starting, like a full throttle escape that fits perfectly with the title of the track. From there, sharp riffs burst in for a classic metal approach. The keyboards provide a mysterious atmosphere we love, while the guitar maintains a constant attack. The song plays with well-defined contrasts, alternating moments of light and speed with darker and heavier passages, where the bass takes the reins and guides the development of the track, reinforcing its intense and changing character.
The closing arrives with “Turn Back Time,” a track with an unstoppable rhythm. The bass hits like a hammer, while the guitar follows the frantic pulse, building a sense of speed and power that perfectly reflects the concept of “turning back time” through the intensity of Metal. The song maintains a very heavy-melodic until the end, where the guitar and voice fight in an impressive duel, leaving the bar extraordinarily high as the album’s closing.
‘In the Halls of Silence’ represents a decisive new step in ABSOLON’s career, an album based from the roots of classic Melodic Heavy Metal to broaden its horizon with contemporary nuances without losing identity. Ken Pike’s voice is more powerful and expressive than ever guiding each track with strength and precision, while the solos and licks of Alex Repetti’s guitar stand out throughout the album, showcasing technique and expression in equal measure. Marc Muchnik’s keyboards wraps the atmosphere of each track creating soundscapes that range from the epic to the melancholic with natural elegance.
A very strong new ABSOLON piece, a band deserving major exposure. Highly Recommended.
01 – Stand in the Spotlight
02 – We’ll Kill the Lights
03 – In the Halls of Silence
04 – Light the Flame
05 – House on the Hill
06 – Til Death Do Us Part
07 – No Goodbyes
08 – Turn Back Time
Ken Pike – vocals
Alex Repetti – guitar/bass/backing vocals
Wayne Noon – drums
Marc Muchnik – keyboards
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