"Fire And Blood" by STEEL ARCTUS is a concept album, each song a chapter in the adventure tale of the warrior Steel Arctus. The trio from Greece tell Steel Arctus's tale by blending elements of traditional and epic-based metal, with prog-like keyboards mixed in to give a grandly orchestral feel. While Nash G. and Xines provide the musical backing, Tasos Lazaris sings Steel Arctus's story with passion, employing a wide vocal range that sounds comfortable, not forced or contrived, even when hitting the upper ends of his register.

Xines's drumming establishes the marching cadence that introduces the album's opening track, "Fire and Blood," with Nash G.'s keyboards joining in to lend an almost regal feel. Eventually the song settles in to a driving metal rhythm. The group's choruses and use of the synthesizer impart an epic feel to the track. It wasn't until I listened to the instrumental version, which closes the album, that I realized how big a part the keyboard/synthesizer played in the song's structure. Rather than used as merely accompaniment, it sets the tone and, in some instances, pushes the melody forward.

A speed metal-style riff leads into "Steel Arctus," a galloping, racing number. The foundational rhythm changes tempo slightly at the chorus, which is sparer instrumentally than other parts of the song. With approximately a minute remaining on the track Nash G. rips a short solo that makes an excellent bridge to the conclusion.

As one would expect, "Hellhammer" is stylistically daunting, with the initial keyboard-established tone one of pensive intimidation. The tempo picks up as the guitar and drums join, but never to the speed on the first two numbers. Nash G. plays a cool little bridge between each of Lazaris's sung lines and his solo is more technically explorative than heard previously. "Doombringer" is straight ahead metal, sans many of the epic elements that marked prior tracks. The use of keyboards is kept to a minimum, with the rest of the instruments, especially the drums and bass, reminding me of PRIEST (particularly during the intro). Nash G. plays an interesting solo that demonstrates proficiency in a variety of techniques.

A spoken word track, "Moira (Moí)," is somewhat spare. A synthesizer carries the track, giving it a medieval, old-world fee (pipes, lutes??), complemented by percussive elements. Different from the rest of the album, the song acts as somewhat of a respite-giving bridge before STEEL ARCTUS hits the homestretch.

"Savage Heart" is a slower song. It begins with a gentle keyboard that goes into an almost classical melody. The pacing is methodical; marching in a grandiose manner. Xines provides percussive backing to Lazaris's vocals, with that theme building into greater instrumental density during choruses. The final minutes of the song sees Nash G.'s guitar taking center stage and the rhythm becoming more driven. "Arcadian Lady," the penultimate track, sets up as a ballad, but transforms into an out-and-out metal song. A synthesizer plays a very prominent role in the melody before giving way to guitar, bass, and drums. These move the song along to its conclusion, which is again set up by a Nash G. solo.

"Fire And Blood" is a conceptual excursion with trappings of epic metal. The songs on the album are musically well structured and the playing tightly cohesive. My only quibble, and this is perhaps more a matter of personal preference, is that the keyboards sometimes cast a tonal shadow over the other instrumentation. That aside, STEEL ARCTUS are consistent with what they do on each track, making "Fire And Blood" an easy album to settle into and enjoy.