Category: 2025

March 27, 2025 2025, Avantasia, Edguy, Power Metal, Tobias Sammet Post a Comment

Caught Somewhere In Time: Avantasia’s Here Be Dragons

As a self appointed historian on the career of one Tobias Sammet, I can honestly say that the cumulative reaction to Avantasia’s tenth(!) studio album, Here Be Dragons, matches the divisiveness that was achieved by 2006’s The Scarecrow (aka the rebirth of the project from a studio only situation to an ongoing touring concern). Honestly, in some ways it surpasses the furor around that album if only because the bulk of the tumult around it’s release was largely negative towards the single “Lost In Space”, while the reaction towards the rest of The Scarecrow and it’s companion EPs was fairly enthusiastic, glowing even (the title track and cuts such as “Promised Land” and “The Story Ain’t Over” are rightfully considered classics today). Conversely, the discussion around the new album centers entirely upon the album as a whole, with wildly differing opinions, and an array of talking points both positive and negative. This has all been further inflamed not only by Sammet on social media defending lead single “Creepshow”, the most decidedly Edguy sounding song ever to grace an Avantasia tracklist — but by his retaliatory lyrics towards vocal fans of his older power metal style on “Return to the Opera”, a bonus track that is ironically enough being lauded by nearly everyone everywhere as the best song on the album. Oi vey, lets unpack all this.

First off, my thoughts on the album itself are confusing even for me, because on one hand, I really do love a lot of these songs, and yet, I find myself frustrated with their lack of explosiveness in the guitar department and in the overwhelming presence of layered keyboard orchestrations. Lets start with the title track, because despite being the second track on the album, it does admittedly feel like the first actual Avantasia tune on the album (we’ll talk about “Creepshow” in a bit) with a guest vocalist duetting alongside Sammet (Geoff Tate in this case). The chorus here is magnificent, one of the best on the album, arguably one of the strongest in the band’s discography as a whole, but I find myself only perking up when I feel it about to strike again. With the exception of a singular riff progression that serves as a far ahead of time prechorus, the rest of the verses are weighed down with a string of lone chords that fill in the space behind Tate or Sammet in uninspiring fashion. Things pick up in the bridge midway through, with a brisk tempo and a combining of voices on a uplifting melody, but at the 5:56 mark we’re deposited once again into this meandering nothingness. Its just so damn frustrating to not give this awesome chorus a long runway to soar off from… it reminds me of the atmospheric nonsense that sat in the middle of “The Scarecrow” when there should’ve been a ripping, Europower guitar solo in it’s place. Despite it’s faults however, “Here Be Dragons” is quintessential Avantasia, a song I keep coming back to for its regality and dramatic pomp and splendor.

While the aforementioned title track might claim the album’s best chorus, the best guest vocalist pairing surprisingly winds up being Tommy Karevik on “The Witch”. Its not even that Sammet wrote a very Kamelot-ian or Seventh Wonder-ish tune here like he did for Roy Khan back in the day on “Twisted Mind”, its more that Karevik is a bit of a chameleon as a singer, finding a way to fit into any style or song structure and maximize his moment. Honestly, he probably doesn’t get enough credit for this, because I can’t recall ever hearing a bad guest spot from him ever (even on some of the Ayreon stuff where I didn’t particularly enjoy the songwriting). This is a crisp, confident, and incredibly addictive tune wisely chosen as a single that echoes shades of “Dying For An Angel”, and it was a shrewd decision to allow Karevik to handle the first verse on his own, thereby giving the song a very different feel from the rest of the album where Sammet is usually taking the lead on things. Similarly on “Bring on the Night”, ole’ Bob Catley kicks off this power ballad (what else with Catley?) with an immediate vocal melody lead-in on the intro, and while there’s a deliberately overproduced 80’s version of this tune as a bonus track, this original version has washes of mid-80s Magnum in spades, which is rather fitting in a way given that band’s ultimate curtain call earlier last year. Its one of the better Catley centric songs Tobias has penned, easily my favorite since the 2016 Song of the Year “Restless Heart and Obsidian Skies” off Ghostlights

Slightly less in my esteem but certainly strong songs in their own right are “The Moorlands at Twilight” with Michael Kiske (Ernie for you old school fans) making his triumphant return to the project, as well as “Phantasmagoria” with the warrior himself Ronnie Atkins. I enjoy both songs a great deal, particularly the latter where Atkins’ rough, jagged vocals are right in their element on a song that sits in that Hellfire Club-ish power metal meets hard rock pocket. Kiske’s song is a companion piece to “Wastelands” off The Wicked Symphony, with some uptempo Euro-power at work, except this time spliced in with some latter day Avantasia eccentricities to prevent it from being straight ahead power metal. And finally Adrienne Cowan gets a turn on an album after doing some stints as Avantasia’s backing vocalist on tour, and she sounds fantastic on “Avalon”, which thankfully deviates from Sammet’s propensity to relegate women guest vocalists in the past to power ballads. Cowan gets to utilize her throaty belting voice here, the kind she wielded so effortlessly on spectacular Seven Spires tunes such as “Succumb” and “In Sickness, In Health” (maybe Sammet got inspired after duetting with her on “Reach Out For the Light” in place of Kiske on tour). I think that “Against the Wind” is a decent song in it’s entirety (though H.E.A.T.’s Kenny Leckremo is lost as a guest vocal here), but it has the honor of having one of the best moments on the album, with Sammet addressing his critics for the first time on an Avantasia album directly, “If you don’t like what I do / then it’s not made for you”. Finally the Freddy Mercury/Queen tinged “Everybody’s Here Until the End” is a fine album closer, a semi power ballad with a deft chorus, although relegating Roy Khan to a mere spoken/sung passage in the middle seems like a waste of talent.

That leaves us album opener “Creepshow” and the decidedly metallic “Unleash the Kraken” as the final songs here to discuss, and they’re of particular interest in the sense that there are no guest vocalists on both tracks, just Sammet himself. So lets talk about the latter first, because I actually think its an awesome tune and reminds me a ton of something like “Under the Moon” from Hellfire Club, or given the balls to the wall nature of the chorus, “Nailed to the Wheel” from Mandrake, both songs from Edguy albums by the way if you didn’t catch that. I genuinely feel in listening to this tune that it could have fit into the tracklist of either of those albums, and that’s ironic given Sammet’s own insistence on not returning to his power metal roots. Then there’s the flashpoint song in all discussions about this album, “Creepshow”, which sounds like it could have been an Edguy b-side from the Space Police era. It is easily the most middling of all the songs on an otherwise strong Avantasia album. Repetitive, simplistic, and intended as such according to Sammet in its aim, as he explained: “It’s short and catchy, and it emphasizes a facet of my work that has taken a backseat in my music in recent years. It’s light-hearted and the opposite of melancholic. And it’s fresh, boisterous and unabashed – a straightforward kick-ass anthem.” He even admits to it sounding like something from the past, stating “…even though it may seem like a reminiscence of my earlier writing, I think we managed to turn the whole thing into a trademark Avantasia tune…“. Hmmm, I’m not sure how it sounds characteristically like Avantasia, given the lack of other voices — after all, even “Lost in Space” for all its simplified pop-rock sonics had Amanda Somerville adding her vocals into the mix.

So I get where fans are a little confused by this album and Sammet’s mixed messaging both from his running social media soapbox on Facebook and Instagram where he is often vocal about his chosen musical path and sticking to his guns (and real talk, I respect him for his stance at least, though I question his need to declare it all the time), and also from within the context of the album itself. Its not just those two songs sounding like old Edguy that are prompting this confusion either, its the reality that the intentional Metal Opera era throwback bonus track “Return to the Opera” is being declared by many fans as the album’s best song. I disagree… only slightly however, because this is a banger of an old school power metal cut, built on the same DNA that informed all those classic late 90s/early 2000s Edguy and Avantasia records that we all look back so fondly upon. The lyrics of this song are self-explanatory, a mea culpa to fans clamoring for the past and also a plea for them to shut up finally… and I’d be on Sammet’s side 100% if he weren’t so goddamned great at writing stuff like this. Seriously, I have replayed this bonus track over and over again just for the sheer joy it brings me, even though I realize its a bit a joke track. He has said in interviews recently (and even alludes to this within the lyrics of the song) that he enjoyed writing it, but if he had to write an entire album’s worth of songs just like it, it would be disheartening (or drive him to alcoholism given the “Betty Ford” references in the lyrics). I get that sentiment, but I’ll argue that the success in the ears of fans of “Return to the Opera” might work against his intentions in releasing it in the first place.

Thinking it all over, I find myself simultaneously thrilled by this album and frustrated with it. I love most of these songs for their melodies and some truly awesome guest vocal moments (Karevik is the MVP in this category), yet I wish it didn’t sound so pillowy soft in it’s production, and I wish some guests were utilized better such as Roy Khan. I think the heavily layered keyboards that adorn so much of this album end up stifling certain tunes that need a bit more space to breath and let the guitars or singular piano melodies rip (“Everybody’s Here Until the End” needs a bit more Meatloaf/Steinman sharpness and vigor for a start). I think the pendulum has swung too far into the direction of prog at times production wise, and there needs to be a little more Gamma Ray and a touch less Magnum in the overall approach during the mixing phase. And I’ll admit that Sammet’s dip back into older, both Metal Opera-ian and Edguy-ish styles on respective tracks has made me a little nostalgic. I long for more stuff like “Unleash the Kraken”, and really what that means is that I long for Edguy, something that’s not drenched in symphonics or theatrical drama like the past few Avantasia albums. It was a breath of fresh air, and I think many fans of both bands found themselves gratefully gulping it in and eagerly looking around for the next one. That its so brief is frustrating to some and bewildering to many. What exactly is Avantasia supposed to be… a Tobias Sammet solo vehicle, or a group project with a rotating cast of singers? He did well bringing in fresh voices to the mix this time in a substantive way, but maybe now its time to fully reimagine the sound of modern Avantasia into something else instead of repeating the formula of the past few albums.

March 5, 2025 2025, Blog related, reviews Post a Comment

Restless and Wild: 2025’s First Quarter Blitz

I have to admit to being slightly taken aback by just how strong the start to this year has been metal-wise. This is because normally, release calendars get off to a slow, lurching start in the first few wintry months of any year, and only really get frenetic around the springtime, which allows us lazier listeners to dilly dally for awhile in the wake of the post year-end best-of list publishing where we listen to a ton of old stuff or nothing at all. I consider myself lucky in that knowing a bunch of friends who are even more intense about their metal listening than I am yields a handful of best of lists worth delving into, which I’ve been doing diligently through most of these first few weeks. And to that point, normally the first article of the year is a mea culpa talking about all the stuff I’ve missed the year prior, but you know what — I can’t afford to that do this time around because there is so much genuinely exciting new stuff coming out that I owe it to myself to sort out my thoughts on all of it here. So here are some scattered thoughts on a plethora of new things and other odds and ends that have been top of mind recently:

Saor – Amidst the Ruins:

Having lapsed on release date awareness recently, I was happily surprised that Andy Marshall was rewarding my late December and early January constant spins of Forgotten Paths and Origins with a new Saor album. Going into this I had only expectations for the quality of the compositions, because there’s a standard that Marshall had set over the entire discography of the project that was largely characterized by thoughtfulness, depth, and a conveying of emotion. That latter dimension has been one that shifts, because I’d imagine that no one could argue against the idea that Origins (a year end listee in 2022) was strikingly more euphoric in tone than its immediate predecessor. Now while opinions are mixed about that change in tone, I personally loved it and wouldn’t have minded if he continued that trajectory. But credit to Marshall, he pivoted away from it a touch on Amidst the Ruins, which is indeed a darker, more earthen toned album in the vein of Forgotten Paths, though with the added spice of some smoky mysticism, as heard in the striking single “The Sylvan Embrace”. But not entirely, because on “Rebirth”, we get some of those clear eyed lead guitars combined with ringing bagpipes and it gives major Origins vibes. In re-listening to the album just now, I feel the takeaway here is that it’s a combination of moods from the past few records, a sort of career summary in a way, and that’s not a bad thing. I do love it, and though it lacks a transcendent moment such in the extended guitar solo of “Aurora”, its likely to stick in the listening rotation throughout the year.

The Halo Effect – March of the Unheard:

I feel like the general consensus about The Halo Effect’s first album has over the past three years gradually caught up to the opinion that I had of it upon its release, that it sounded far too much like Dark Tranquility for its own good. Sure there were elements of Jesper Stromblad’s signature touch on guitars and the songwriting was at times pretty solid, but Mikael Stanne’s position at the vocal helm was that double edged sword of him being a really fantastic screamer with incredible tone, and yet someone who has had years of developing a clean vocal melody style that is unmistakably recognizable. So recognizable in fact that it was hard to shake the Dark Tranquility vibes leaching into The Halo Effect’s music, particularly when it was largely a mix of scream/clean balancing acts within the songs, a trait that characterized so many of the recent albums of his main band. So on the sequel, they seem to have either heard the criticism and are consciously responding to it, or Jesper has seemingly decided to interject more of his signature guitarwork approach to the band’s sound, because there is a convincing aspect to March of the Unheard that is classic Gothenburg melodeath in terms of pure sound. For that reason alone, I enjoy this album a great deal when I’m actively listening to it, because its hitting those same taste buds that were awakened when I first heard classic In Flames and the rest of the Gothenburg ilk. But I will offer this criticism, that after weeks of listening to this consistently, I still have a hard time identifying most of these songs individually, as they all blur together in this modern melodeath mélange, and that’s been my criticism of Dark Tranquility’s newer albums as well. And I hate piling on Mr. Stanne, because I think he’s a great vocalist, but perhaps he needs guiderails for this project, such as a declarative rule on no clean singing, or no vocal melody driven choruses allowed? A little more Majesties’ Vast Reaches Unclaimed and less Atoma or Endtime Signals would really go a long way.

Majestica – Powertrain:

A fun one from a band led by one Tommy Johansson (ex-Sabaton/ReinXeed) who is in his power metal element here. I have a fond regard for anyone proudly flying the flag of classic power metal (the non-meme sort that is), and Tommy loudly declares that pride on an album that is a natural progression from their 2019 debut Above the Sky and sophomore x-mas concept album A Christmas Carol (if we’re counting that as a regular album I suppose). It also doubles as a tribute to power metal in subtle and not so subtle ways, the latter coming in the form of a unabashed salute to fellow Swedes in Hammerfall on “Megatrue”, with lyrics invoking that band’s album and song titles to amusing effect (well, to us power metal nerds), set to a suitably Hammerfall-ian marching song structure. I hear a little nod towards “Full Moon” ala Sonata Arctica on “No Pain, No Gain”, not only in the keyboards, but in the vocal patterning that does have hints of Tony Kakko. I hear Power Quest on “Victorius” with splashes of Stratovarius, and major Heavenly vibes on “Go Higher” — but alas, I trust that the band didn’t want us to only take away comparisons from this album. On “A Story In the Night”, they unleash a beast of a song that is unmistakably cut from the ReinXeed/Majestica songwriting mold, easily their finest tune to date and one to likely land on the songs of the year candidate list at least. Along with fellow Swede Johannes Skyblazer, Tommy has become one of the leading lights in a resurgence of unabashedly Europower oriented power metal, unafraid of being unfashionable and gimmick free. Its refreshing.

Dawn of Solace – Affliction Vortex:

Really impressed with the new Dawn of Solace, this being Tuomas Saukkonen’s other other band (that second ‘other’ is referring to Before the Dawn, who he brought back from the dead last year with a new singer onboard, that dude from The Voice of Finland reality show), and if that name is still not ringing a clear bell in your head, he’s the main man behind Wolfheart. So with this other band of his, it leans towards less aggression, and more of a focus on Finland’s ongoing love affair with melodic doom through a gothic filter. A two man lineup, Saukkonen’s always excellent harshes are paired against Mikko Heikkilä’s clean vocals, who is a bit of an acquired taste admittedly. He reminds me a lot of Tuomas Tuominen who gothic metal fans might remember as the vocalist on the first two The Man-Eating Tree albums and all those Fall of the Leafe records, sharing a similar tone and cadence in their deliveries. This is a moody, patience requiring affair, with songs that aren’t shy about gradual builds, slower tempos (that doom influence), and payoffs that aren’t hook based. It is a demanding listening experience in that regard, but I keep coming back to it for the depth and raw emotion they’ve mined here. I think if you’re a die-hard aggressive Wolfheart fan, this might be a fifty-fifty proposition, but if you like Finnish gothic metal this might be close enough to pique your interest.

The Night Flight Orchestra – Give Us The Moon:

I should also mention the new album from The Night Flight Orchestra, Give Us The Moon, which continues their locked into 1985 stylistic direction that they’d been splashing around in for the past two albums. I will say this, on one hand, there are some really solid songs here, “Like the Beating Of A Heart” is the band’s best single in ages and “Paloma” is a rather creative take on power balladry (deep pulls from Foreigner’s brand of AOR here) — but on the other hand, I feel like the band is treading familiar ground here that was already covered ad nauseum on the two Aeromantic albums that preceded this. There was a point where it seemed like the band was progressing their sound according to the timeline of the 80s, starting off with their debut album reflecting 1980 or 81, and each successive album moving along with the stylistic shifts in sound that actually occurred in that decade. Now I’m not so sure, maybe they just like this particular mid-80s aesthetic so much they’ve decided to nest here, but I do feel like their sound needs a shakeup. My vote would be to inject some late 80s glam/pop metal vibrancy into the mix on the next album, a little Whitesnake or Europe-ian over the top dramatic flair and some more virtuosic guitarwork. I can only hope anyway.

There were a handful of other releases that I’ll briefly comment on, starting with Master Sword’s Toying With Time being a really stellar listen, and if you heard the recent episode of the MSRcast, you’ll have heard us realizing during recording that it was the band’s final album, as they broke up immediately after its release, which does dampen the mood a bit. Give it a shot though because its a really unique blend of styles, a raspy, deep toned talented vocalist in Lily Hoy, and The Legend of Zelda as lyrical inspiration (a cousin to Fierce Deity in some ways). Italy’s Labyrinth also returned with their first album in four years, In the Vanishing Echoes of Goodbye, and it’s a solid effort that I enjoyed to a certain extent. I will concede that it didn’t have quite the punch of 2021’s Welcome to the Absurd Circus where they leaned more towards classic melodic power metal. Here I get more a progressive vibe, big on dense riff sequences and less on the soaring melodies leading the way, although Roberto Tiranti does go wild on a couple songs. I guess I’m still on the fence about my overall feelings on this album, and it very well might be a grower that hopefully sticks with me through the year.

Elsewhere, there was obviously the new Dream Theater album Parasomnia with Portnoy back in the fold, and while it was alright, I did find that “Bend the Clock” was the most interesting thing they’ve done in ages, a song genuinely brimming with some emotion and a above average vocal from James Labrie. I love the first minute and a half of that song where its such a Steven Wilson/Porcupine Tree vibe that’s happening, with undertones of nostalgia and melancholy… ahhh, if only more of their stuff could be like this I’d be a fan of this band. I listened out of curiosity and didn’t regret it, but probably will only return to that song alone. And the new Dynazty album Game of Faces came out and damn if I can find anything remarkable about it, which makes me sad actually. I don’t know if its just a me problem or that the band has started to repeat themselves, but this all sounds like stuff I’ve heard before, just less catchy. I like Nils Molin quite a bit as a vocalist for this band (unlike in Amaranthe, my criticism of him there should be well documented by now) so this is a total drag for me, so to curb my sadness I’ll end my comments here.

I can’t say that I enjoyed much of Marko Hietala’s solo album Roses From the Deep, but I applaud him getting back out there after dabbling around the metal scene with some solo guest appearances (including a cracking one with Therion on the first Leviathan album in 2021). This has much more in common with Tarot than Nightwish of course, but its so all over the place stylistically that it fell victim to a classic solo album faux pas of not having a cohesive vision. It was more Balls to Picasso and less The Chemical Wedding so to speak. There’s a new Lacuna Coil album out called Sleepless Empire, and I think its solid for what it is, though its back to their more slick, polished direction as opposed to the surprisingly dark and heavy affair that made 2019’s Black Anima very compelling. Cristina Scabbia still sounds ageless to her credit, and they have a sound that works for them, and there are songs on here such as “In Nomine Patris” and “Never Dawn” that are incredibly strong despite the thick production gloss. I do think getting messier and darker with their sound is the way for them to lean, but maybe that’s not an opinion shared by their fans.

I’m still digging into the new Ebonheart, Arion, Kilmara (love that track Daniel Heiman guests on), and Prehistoria albums, as well as Udo’s guest loaded Balls To The Wall – Reloaded, and new The Ferrymen album. I’ll probably leave those to the podcast to talk about because they’ll be old news by the time I’m caught up. Lastly, I’ll mention that I caught my first show of the year this past Sunday at the small room of House of Blues Houston, for Swallow the Sun with Harakiri For the Sky and Ghost Bath and a darkwave opener called Snakes of Russia. Regarding the latter, with all due respect to the singular gentleman who is that artist, darkwave as a live experience is profoundly boring if you don’t have some kind of visual aid to accompany it. At a certain point, I looked around and noticed people staring at their phones or like myself, the floor. His music was fine, it all kinda sounded the same, but would be great background music for working on something, but someone needs to whisper to him about reconsidering it as a live proposition. Ghost Bath were alright, apparently I forgot everything about seeing them in a gig long past, but what struck me this time was their proclamation that they play “rock n’ roll about killing yourself”, and then proceeded to do a black metal era Tribulation imitation for their set. A friend asked after the show, “Are they ashamed of black metal?”. And that was a legit question that hung in the air.

Seeing Harakiri For the Sky was a longtime coming after becoming a fan of the band back in 2018 with Arson, and they did play “Fire, Walk With Me” from that album, but mostly focused on the new one which I’m not as into. The drummer was phenomenal, and of course Matthias Sollak was incredible on lead guitar, and while they aren’t the most engaging live band, they managed to translate what is an incredibly dense, layered sound into the live setting rather well. As for Swallow the Sun, this was maybe my seventh or eighth time seeing them live now, and it was just as excellent as any of them have been (2019 was special for seeing Juha Ravio for the first time since his live hiatus). Hearing the new songs from Shining that I was obsessed with last year was a joy to behold, and they sounded heavier and more bruising than on the record (for anyone who had issues with their production). Also attending the show were Seven Spires’ Adrienne Cowan and Jack Kosto, and I got to talk to both of them outside briefly before Swallow the Sun went on. Jack was in town working on new music with Adrienne, and she told me she was leaving for the Avantasia tour the next day. I’d met both of them before, in fact Adrienne has become a common sight at specific Houston metal gigs over the past few years, but it was still surreal to look to my left during the Swallow the Sun set and see both of them standing next to us, nodding their heads along.

And that catches us up on current metal releases and events, for the most part. Anything that’s not covered in this update will be discussed on the podcast. Hopefully we get a bit of a slowdown in noteworthy releases so I can focus on some other things worth talking about on the blog, but if not, I’ll be back with one of these catch up type updates again. I’m going to deliver a singularly focused discussion on the new Avantasia and Brainstorm albums next, because both of those are worthy of a deeper look just by virtue of their veteran standing and my unabashed love for both of them. I have many thoughts!

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