Exit Eden: Symphonic Metal’s Double-Take Inducing Pop Experiment

This is a review that was written in early August that I thought I had lost permanently in a freak browser freezing accident, but apparently was saved through means I can’t really understand. Exit Eden is the four-piece vocal group that tackled a handful of pop/non-metal cover songs in the vein of symphonic metal —- the reaction towards it was mixed, as expected, but I’ve been surprised to see that over the past few weeks a more positive embrace of this album is taking hold. This is the unedited (except for grammar, hopefully) version of that original review, and my feelings on the album haven’t changed since, so I figured I’d repost this one. A fall reviews cluster is to follow this with a slew of reviews on albums that have dropped in the past few weeks/months.

 


 

It would be so easy to come at this project with an ample amount of cynicism and derision… expected even. A label/producer concocted “band” (the quotation marks for that piercing barb!) with four strikingly gorgeous female vocalists from the Euro/power metal scene, coming at you like the corset wearing version of Il Divo (or worse, The Tenors, who by the way have no business covering a song that can only be truly sung in its full glory by either Freddie himself or my lady Sarah Brightman!). That its a covers album is yet another reason you’d be forgiven for indulging in a little eye-rolling. Check out that tracklisting, okay “Total Eclipse of the Heart”, that’s a Steinman classic that could’ve been a Meatloaf song so its an easy shoe-in for the symphonic metal treatment —- but Rhianna’s “Unfaithful”, her paean to bad girls feeling guilty? C’mon, that’s just pandering for clicks and algorithm placement on YouTube and Spotify right? A take on Lady Gaga’s alliterative dance pop “Paparazzi”, seems like an unlikely candidate for a project like this and perhaps thrown in only for eyebrow raising right? Look, you’d be forgiven for thinking all of these things —- and when we listened to some of this stuff whilst recording our MSRcast with Blues Funeral’s Maurice Eggenschwiler, both he and my cohost Cary scoffed at this entire affair. I didn’t blame them.

 

But here’s the thing, despite all that, I kinda am having the best time when I listen to this album. Its ridiculous and absurd to a large degree, but its fun too, satisfyingly joyous for its musicality. I love symphonic metal because a long time ago I heard bands like Nightwish and Therion and realized that the sound of sweeping strings over a bed of thundering metal guitars was something I’d always wanted to hear. But I was scarcely provided the opportunity to until I directed my attention towards metal bands across the Atlantic way back in the late 90s. Its no coincidence that Exit Eden was dreamed up by a European production team, specifically the in-house studio producers at Elephant Studios in Flensburg, Germany. It figures, German producers just seem to have a knack for this kind of thing: Sarah Brightman’s longtime musical collaborator/producer is the German born Frank Peterson, who cut his teeth working with Michael Cretu (of Enigma fame). Oh then there’s Mr. Sascha Paeth himself, the man behind countless power metal productions at his Gate Studios in Ehmen, Germany —- and if you don’t know his work, I’ll just direct you here. Yeah, he’s involved in Exit Eden as well, as one of the guitarists at work in the band laying down the metal aspect of the soundscape here, and no doubt, helping on the symphonic end as well.

 

Paeth is also responsible for bringing on board Amanda Somerville as the first vocalist selected for the project, a wise choice because she possesses such a strong, powerful voice that can carry the majority of the load on any song she’s on. She was apparently instrumental in recruiting French vocalist Clementine Delauney (Visions of Atlantis, ex-Serenity) into the fold, a singer who I championed a few years ago in my review of Serenity’s War of Ages. She was spectacular on that album, the variety of songwriting giving her the opportunity to showcase a spectrum of vocal approaches, from delicate and breathy to otherworldly in a Sinead O’ Connor/Bjork vein. I was disappointed when she left that band, but both she and they rebounded fairly well. Her work on Visions of Atlantis 2016 EP Old Routes New Waters was promising, particularly for it’s hushed ballad “Winternight“, though it remains to be seen if that band will fully display her capabilities the way Serenity did. The other two vocalists filling out Exit Eden’s lineup are Brazil’s Marina La Torraca and German-American Anna Brunner, who apparently is Elephant Studios secretary who happened to lay down guide vocals on the demos for the project. La Torraca is best known for being Avantasia’s live backup vocalist during some shows in 2016, although she’s likely soon to be associated with Phantom Elite, Sander Gommans’ new project post-After Forever who are on the verge of releasing their debut album.

 

 

The music itself is well executed, with just enough of a balance between heavy, crunching metallic rock riffs (think Within Temptation) and computer/keyboard generated symphonic elements, but that’s to be expected given the caliber of the pros behind the scenes. And these are covers in the most strict, traditional sense —- there’s no changing up the melodies, no musical deconstructions, no slowing down tempos, its really just these songs as you’ve heard them in their original states but painted with symphonic metal colored paint. Some might find that annoying, but these songs relied primarily on the vocal melody in their original state, and unless you have a skilled composer reworking entire song structures (ala Sonata Arctica’s Tony Kakko or Therion’s Christofer Johnnson, both accomplished at reworking cover versions), then its best that Exit Eden played it this way. I guess the real question here is do all the song choices lend themselves to this approach? The answer is unsurprisingly no, because there’s a few that fall flat, one being Adele’s “Skyfall” which for some reason features a guest drop-in by Simone Simons of Epica. I’m not sure why, but “Skyfall” loses some of its sly charm in Exit Eden’s version, though I’ll venture that its because their more straight ahead approach diminishes the dreamy, 2am blurred vision feel of the original. You could practically see Adele in a smoky-hazed bar, hunched over the mic in the corner, crooning away —- Exit Eden’s feels practically clinical in comparison. And I thought the bizarre song selection of Visage’s “Fade to Black”, which is just… well for lack of a better term, bizarre! Never was fond of the original myself, and I hoped this version would change my mind but sadly it has not.

 

Where things actually work are on the big, bright, arcing pop songs with soaring choruses: Katy Perry’s “Firework”, Rhianna’s “Unfaithful”, and yes even the Backstreet Boys faux-soul balladry of “Incomplete”. Regarding the latter, Exit Eden’s version towers over the original, which was always hampered by the sub par, often nasally voices of the individual Backstreet Boys singers themselves. Here the chorus is beefed up by a kick of guitars and see-sawing strings to give it extra heft, and the vocalists (I believe Delauney alongside Somerville backing up) deliver a rather passionate performance —- its a delight to hear, a good song finally given a proper recording. The Rhianna cover was also surprisingly successful, complete with an organic violin sound in the verses which was a shrewd choice because if you’ve heard the original, they were going to be the problematic area for any symphonic metal transition. I will say that the tone of the vocals during the bridge/chorus don’t really match what the lyrics in this tune are going on about —- for the most part, I’m nitpicking however and its entirely possible to ignore those aspects and just enjoy everything on a purely musical level. There’s a good showcase in one of the verses here of Anna Brunner’s more rough-hewn vocal ability, as she demonstrates a more Doro-influenced vocal that she uses in spots throughout the album. Its on Katy Perry’s “Firework” where everything, and I mean everything really come together for one harmonious outpouring. But its easy to see why, the original was such a perfect pop song, and the producers here have wisely avoided doing anything except adding a little more guitar and some nicely played symphonic beds.

 

Two other cuts worth getting starry-eyed over are the aforementioned expected take on “Total Eclipse of the Heart” with Amanda Somerville and Masterplan/At Vance vocalist Rick Altzi going back and forth on dueling vocals; and an unexpectedly majestic take on Bryan Adams eternal classic “Heaven”. About a decade ago I remember hearing a Euro-dance version of “Heaven” that I actually thought was fairly good despite the tackiness of the genre it was attached to, and hearing Exit Eden’s version just makes me think that its one of those songs that sound good when anyone does it. There’s a nicely stutter-stepped rush of guitars and orchestration when the chorus hits and it just lends a bucketful of gravitas to what’s already an impactful chorus. But its the verses I love —- and for the life of me I wish I could identify with absolute accuracy who’s singing in the second verse sequence, because she’s accenting all the right moments just perfectly. I really love this version, its as bright, hopeful and romantic as the original, but there’s a wash of melancholy that’s coming through the lead vocals that give the track a different kind of vibe that Adams’ vocals didn’t give it. It may be sacrilegious to say it, but I might prefer this rendition more? I’ll say it —- I do. Going back to “Total Eclipse of the Heart”, Altzi gives his lines the right amount of that classic hard rock sandpaper feel and he’s a solid choice for the duet, not flashy, not showing off, just getting the job done convincingly. This is Somerville’s moment however, her best performance on the album and proof positive that she’s consistently one of the best vocalists in power metal today (regardless of gender).

 

 

The most daring experiment here (besides that Visage cover) is the opening cut, a challenging take on Depeche Mode’s dark, storming “Question of Time”. Now, I love Depeche Mode, and completely love that metal bands feel the same way and have responded throughout the years with some really excellent covers. Not sure how the guys in that band feel about it, but they’ve quietly influenced so many metal bands over the years. I’m ultimately undecided on whether or not I can enjoy this one, because while there’s nothing wrong with it as a cover, it just makes me want to hear the original (something that may simply speak to just how awesome Depeche Mode is). Its rivaled in its bold experimentation factor by “Paparazzi”, the iconic Lady Gaga hit, which definitely is interesting for its vocal choices. Instead of playing along with Gaga’s patented alliterative vocal rhythms, Exit Eden stretch them out, like a roller pin over a mound of dough. It results in a chorus that sounds very much like Tarja era Nightwish, with heavy vibrato undercurrents in the vocal approaches. Its also the heaviest track on the album by far, with extra thick guitars and little micro solos flying around in unexpected moments. Again, I’m not sure just how I feel about it, because while I enjoy the musicality, I wonder if it doesn’t lose its meaning in transition. I think a successful cover can do one of two things: Either bring the original meaning of the song with it, or give the song an entirely new context via a different approach (think about Therion’s gorgeous cover of Accept’s “Seawinds” vs their radically different reworking of ABBA’s “Summernight City” —- the former kept the bittersweet yearning of the original while the latter turned a shiny, happy, upbeat dance cut into something truly sinister).

 

Minor quibbles and philosophizing aside, bet you didn’t think a review on a project like this would end up being so lengthy. Truth is, neither did I, and that’s what makes Exit Eden and “Rhapsodies In Black” stand out. We’ve seen some pointless releases come out recently… Masterplan’s cover album of Helloween classics is one of them, Krokus’ entirely pointless Big Rocks was another. Covers albums generally fall in the pointless category, and it takes either a special band to make them convincing (Metallica’s Garage Inc for example, which was half compilation/half new) or a unique, fresh take to make them worthwhile (Therion’s Les Fleurs Du Mal, their reworking of classic French pop covers and 2012’s Album of the Year!). Sometimes even a unique take isn’t enough if the execution isn’t there, as the tepid Maiden uniteD [sic] acoustic albums (albums!) have proven. But Exit Eden have managed to side step this with a release that is quirky, playful, and really quite fun. The band and their production team succeeded in this attempt where Within Temptation faltered on their The Q-Music Sessions —- you gotta pick the right songs and fully lean into the idea of a symphonic metal translation. This is worth your time for a Spotify play-through, you just might find yourself smiling despite your misgivings.

 

 

 

Kingdom Hearts: Sonata Arctica Look Back With Ecliptica Revisited

 

 

A few Fridays ago on a balmy Houston evening, I witnessed Sonata Arctica perform for the first time. I was excited, not only because I had missed a pair of chances to see them live in the past, but in large part because I had been revisiting the band’s classic era catalog in the week leading up to it —- a mix of dutiful homework and genuine affection for those albums that I had loved so much throughout the band’s early years. It was also somewhat of a banner night for power metal in Houston with Delain and Xandria also on the bill. Outside in the lengthy line and inside in the darkened venue, there was a palpable sense of giddy anticipation from almost everyone in the crowd. I knew something was a little different when most everyone was packed together in a shapeless mound of humanity in front of the stage long before the local opener, collectively staring at a perturbed roadie setting up gear instead of assuming the typical heads down, phones out pose.

My pre-show impression of Sonata Arctica as a live act was colored by various live YouTube clips (most recorded on inadequate phone cameras I know). In those various clips it often seemed that either the keyboard was mixed far too low, or the guitar was horribly muddied. I also noticed a distinct lack of the swelling harmony/ back up vocals that are such an integral part of the band’s studio releases. A lack of live backing vocals for a power metal band is often a critical error —- as much as I loved seeing Blind Guardian live, a clunky crowd sing-a-long could not prove to be an effective replacement for hundreds of multi-tracked Hansi Kursh’s. I always considered Kamelot’s One Cold Winter’s Night live recording setup as the best possible standard for a power metal band: In lieu of having anyone else in the band who could actually sing apart from Roy Khan, Kamelot hired three backup vocalists to ensure that their harmonized choruses would soar. It is however a fantastically expensive luxury to have (even for a single show), and quite impractical to expect a European band to bring over additional musicians for a North American tour. Some bands are fortunate to have harmony vocalists built into their lineup like Sabaton, and others aren’t so lucky. So with those factors in mind regarding Sonata, I braced myself for a slight letdown by tempering my expectations. The stage lights went down and voices around me bellowed in triumph, and the super hyped up guy I had been talking power metal with in between sets leaned over and shook my shoulder with alcohol fueled glee.

 

Tony Kakko was a vocal magician that night, and a performer unlike any I had ever witnessed. He leapt and bounded across the stage with relentless energy, and threw himself into the lyrics with physical movements that mirrored or reacted to the words he was singing. His voice was accordingly sonorous, full, soaring, and capable of an impressive dexterity in adapting harmony laden lines to a solo vocal approach. When he needed us to help out on the choruses he directed our voices himself, and classics as such “Full Moon” and “Replica” felt like celebrations of power metal’s proclivity in creating joyful euphoria. Newer songs from albums that I had been critical of on this blog such as “Losing My Insanity” and “Blood” actually sounded better live, brimming with a vitality that I now associate with their studio versions. Even the dreaded “X Marks the Spot” was actually fun because Kakko simply sold it so well, his skill as a front man keeping me rapt with attention as he seemed to act out the lyrics. I was caught off guard in realizing that the song actually has a rather good chorus that I had seemingly blocked out before (my feelings on the studio version’s horrible dialogue still stand). I was even stunned that Kakko had the guts to perform such a naked ballad such as “Love” from the recent Pariah’s Child, but he somehow managed to convince a room full of some pretty convincing looking metal fans that it was okay to sway back and forth to a delicate, gorgeous, emotionally soaked song. I lingered long after the show, fan babbled to the Xandria guys a bit, and found myself not wanting to leave. As it always seems, magical nights like that are rare, and over far too quickly.

That the set list was generously full of classics from the band’s debut album Ecliptica was not a random occurrence. As Kakko himself pointed out on stage, the band was celebrating their fifteen year anniversary and in addition to loading their set with songs from that watershed era , they were going to be releasing their re-recording of the album at the end of the month. I spent the weeks leading up to the show listening to that album in particular, and reveling in every second of what can only in retrospect be dubbed an actual masterpiece. Upon its 1999 release, Ecliptica became a hit in Finland (and Japan) in large part due to the tangible influence of native countrymen Stratovarius’ championing efforts, and the market’s hunger for a Hammerfall-fueled resurgent interest in soaring, melodic power metal. I myself was a frustrated metal fan reliant upon newly developing Stateside mail orders to acquire back catalog from any European metal band I could find. I was listening to a weekly college radio show called the Metal Meltdown out of Cleveland that was introducing me to wonderful new stuff at an alarming rate (in that my wallet was continually emptying) —- in one week the show played new music from a trio of bands I had never heard of: Edguy, Nightwish, and Sonata Arctica. It was like water to a lost traveler in the Sahara. It was a year of classic power metal  releases. It was a wonderful time to be a fan.

 

All these years later, its understandably difficult to remember just how strikingly different and fresh Ecliptica and its 2001 follow-up Silence sounded amidst that newly forming power metal resurgence. Sure the band were noticeably influenced by Stratovarius, but where their countrymen played it straight and safe with their take on European power metal, Sonata Arctica displayed a tendency to wildly lean in odd, unexpected directions —- both musically and lyrically. There was something quite charmingly naive and innocent about their approach, as if they were so enamored with their ability to create songs worthy of a record deal that they didn’t bother to pay attention towards sticking to standard genre rules. This was a very young band for starters (scarcely out of their teens), consisting of musicians all to eager to lean on speed and flashy solos, and they had the talent to pull it off, particularly long-departed guitarist Jani Liimatainen. Yet Sonata’s sound all started with the songwriting genius of Kakko himself, who throughout his career has displayed his knack for crafting indelible melodies with sharp hooks, and incredibly focused songwriting that flirted with a variety of tempos. He was a keyboardist, and his songs were built with that instrument serving as the framework for his songwriting, which also meant that melodies had to come first before riffs (often a hallmark of the most melodic of power metal bands). He’s of the same caliber of talent as his good friend Tuomas Holopainen of Nightwish; or Tobias Sammett of Edguy/Avantasia; or Hansi Kursch of Blind Guardian: All power metal songwriters who are masters of their craft to such an extent that they simultaneously define and defy the genre. In that regard, Kakko was both a trail blazer and someone who was practically impossible to copy.

As a singer, he was capable of projecting emotive inflections in the simplest of vocal melodies, to such an extent that every song had the potential to come across as some autobiographical account of personal tragedy about a lost-love, or worse. When I first began to listen to the band, I didn’t get around to really investigating the lyrics in the album booklets until after many dozens of listens. I was convinced that these songs were based in part from real life experiences —- and as absolutely ridiculous as that sounds to you today, consider that hardly anyone in power metal at the time was tackling such first person, introverted, real-world subject matter in such an earnest way. Sure you’d occasionally find a love ballad on a random power metal album pre-1999, Stratovarius had a couple in fact, but they were usually paint-by-numbers affairs lyrically speaking, filled with flowery, vague, open-ended diction meant to apply to anyone in particular. In short, they weren’t telling stories. Kakko has been a storyteller throughout his career, a lyricist who writes with an eye for detail and tangible imagery rather than metaphysical conceits. Think about your favorite Sonata Arctica songs… I’m thinking right now of a gem like “Tallulah” from Silence, where Kakko writes from the perspective of a love lorn narrator: “You take my hand and pull me next to you, so close to you / I have a feeling you don’t have the words / I found one for you, kiss your cheek, say bye, and walk away / Don’t look back cause I am crying”. This kind of lyrical perspective was startlingly bold and evocative for a power metal band, so much so that I figured something that gritty and real had to be inspired from his personal life, right?

 

As it turns out, Kakko was a lyricist of the Joe Elliot mold, he being the famed lead singer of Def Leppard. When I was a budding rock fan in the early nineties, I read an interview with Elliot where he admitted that his lyrics were pure fiction, despite his narrative perspective almost always being in the first person with seemingly autobiographical overtones. I know its not a revolutionary concept, and that many other bands have utilized such a lyrical strategy to ratchet up the tension and passion in their music (Journey comes to mind immediately), but Elliot was the first famous musician that I had ever read such an admission from. Reading it then was a bit of a revelation for me, and made me pay attention to lyric writing in rock music with greater attention, to not be so gullible, and to think about things like narration and perspective and diction in a new light. It made me pay greater attention to Metallica’s Load for example, while many upon its release were writing it off as a sell-out move towards alternative rock, I found myself thinking that it featured James Hetfield’s most thoughtful and resonant lyric writing. So it was with great surprise that I found myself hoodwinked by Kakko, who in the very first interview I had ever read with him revealed that his lyrics were purely fictionalized. Doh! This has of course carried on throughout his career, as he recently pointed out in a late September interview on the Metal Meltdown radio show regarding his penchant for writing songs about relationships and love, “I write a lot of stories, these are not my diary entries by any means. I’ve been with my wife for eighteen years. We started dating back in ’96, the same year this band got started so she’s been there the whole time”.

Suffice it to say that when I finally got around to reading the lyrics, I had some other forehead slapping revelations. Take an Ecliptica classic such as “Full Moon”, which upon a cursory hearing could seemingly be about the emotional troubles and turmoils of a complex relationship told in a very romanticized, metaphor-laden manner. Kakko’s emotional vocals sell it that way dammit! But no, its actually about a man on the cusp of his werewolf transformation trying to isolate himself away from his wife during the full moon (“Run away run away run away!”). There is no larger metaphor there, but I suppose in its own juvenile, kooky way it works as a love song. Similarly there is no actual person named Dana, a fictional character in Kakko’s lyrical universe whose name was culled from Dana Scully of The X-Files (Kakko was a huge fan, as am I). Feel free to read into the lyrics of “Letter to Dana” what you will in that light, but I don’t recall Gillian Anderson posing for anything naughtier than the cover of FHM magazine. Likewise, the “Mary-Lou” of the Ecliptica Japanese bonus track is just a made-up character in a rather distressing tale of teenage pregnancy, yet one that’s sweetly sung. I could go on and on reciting examples of misinterpreted Sonata Arctica lyrics, but the point is that these were all songs sung with such emotional resonance that they started to mean whatever I selfishly wished them to. I’m reasonably confident that other Sonata fans have felt the same way. Why else would we get so throat lumpy and something-in-my-eye about so many of these wonderful songs?  I believe its because Kakko sang them with a passion and intensity that to this day seems embedded with painful experience —- despite all proof to the contrary. So powerful is his natural talent that I found myself haunted by a Bette Midler song I couldn’t have cared less about before.

 

With all that in consideration, I think its okay for any of us to ask why the band is re-recording Ecliptica at all. Well, the short answer is that the aptly dubbed Ecliptica Revisited was done at the request of the band’s longtime Japanese record label, a request the band agreed to as a gesture of goodwill towards a company that had stuck by them since the beginning. Kakko has even commented publicly that the contract they signed for the release stipulated that the re-recording had to be 94% identical to the original release, essentially meaning that they couldn’t re-work the songs into transformed versions or acoustic strip downs. For Kakko, this stipulation not only made it easier for the re-recording to be completed, but helped him to contextualize this release as a simple tribute to the original, as well as a more accurate representation of how these songs are performed live today. Typically within the metal community regardless of subgenre, a re-recording is frowned upon, not only for the often cloudy nature of the reason for it’s existence but more for the larger threat it presents to the legacy of the original. Most of the opinions I’ve seen regarding Ecliptica Revisited seem to align with that way of thinking, and I certainly understand some fans’ puzzlement and frustration (although I think its a waste of energy to get up in arms over a release that clearly will not be replacing the original recording).

As far as how enjoyable the re-recording sounds, well… that depends entirely on what you’re expecting from it. It would be a bit dense to expect an absolutely perfect, note-for-note recreation —- you have to walk into this expecting that certain melodies will be altered, the high notes might not be as high, and there might even be a key change or two. We’re factoring in a difference of fifteen years, the numerous adjustments that have been made over time to the way these songs have been played live, as well as the simple truth that no two recordings can sound alike (different band members, recording facilities, equipment, microphones, etc). Oddly enough I was really excited about this release, I think in large part because it gave me an excuse to simply spend a justifiable chunk of listening time with all these old songs I love so much. I spent the past few weeks going back and comparing the original and this re-recording with back to back listens, in an attempt to try to scope out what I liked about each over the other (a behavior one friend of mine deemed “maniacal”), and came up with an litany of notes.

I’ll spare you the bulk of them, but I’ll clear the decks of my negative impressions right away: I won’t fault the band or Kakko in particular for failing to realize this, but the slight tempo adjustments slowing most of these songs down a touch severely impacted a few in particular, effectively muting their original energy. This is acutely felt on “8th Commandment” and “UnOpened”, where the slower pace drags down Kakko’s vocal delivery in the refrains, zapping the songs of their original broiling anger (and yes, their sense of fun and exuberance). Similarly on “Replica”, a personal favorite of mine, Kakko tends to put the brakes on his delivery of the chorus, robbing the song of its original sense of urgency. I should note that this re-recorded version of “Replica” is almost identical to the manner in which they played it here in Houston, and in a live setting this slower pace worked in the sense that Kakko was able to use the extra time to play the performer and guide us in our sing-a-long. In fact you can hear the pauses where you can just imagine him gesturing to the crowd to join in —- it works in the context of a show where you’re just thrilled to be a part of the song in a meager way, but here on record it comes off as lacking. Its interesting to note that if you compare the song lengths of the originals to the re-recordings, you’ll see that the majority of the track lengths on Ecliptica Revisited have been extended by an average of ten seconds, the cumulative effect of all this slowing down business.

 

Fortunately the tempo downshift doesn’t hurt all the songs, in fact helping some songs to breathe easier and feel better paced. Cry heresy if you must but I actually find the vocal take on the re-recording of that eternal classic “My Land” far better than the original: Kakko’s enunciation and pacing is better, and the lyrics are more discernible as a result; I also love the alteration he made at 2:30 on the lyric “You can’t keep me away forever”, on the original that line only appears at the end and he doesn’t satisfyingly lean on the “forever” like he does here. I also really love what they’ve added to “Full Moon”, the intro is still as delicate and beautiful as it originally was, but the band gets heavier in the buildup to the galloping verses, giving the song a darker, stormier vibe. The chorus is as bright as ever though, and what I find so incredibly wonderful about Kakko’s vocal approach on it is that he seems to be reveling in its history as a fan favorite. I know its a subtle thing I’m trying to relay, but I hear it in the way he delivers that classic chorus with all its inherent poppiness in such a celebratory manner. Not surprisingly, its the balladry of  “Letter to Dana” that benefits the most from the re-recording, with guitars multi-tracked in choice spots, better vocal phrasing, and a greater emphasis on making those lead guitars really capture the epic sweep in a Slash-esque way. Unfortunately, it is a bit of a misstep and a shame that they didn’t turn up the harpsichord effects at 4:25 —- that was such an epic moment in the original and although you can still faintly hear them underneath, they’re not nearly as goose bump inducing here. I also think “Destruction Preventer” comes off a little better here, as they sanded off all the rough edges (Kakko’s wildly high pitched yelps) and added layers of extra guitars and harmony vocals.

All told its likely that some of you won’t hear things the same way I did, and my impression could by colored by the very vivid association I have of certain re-recorded songs sounding similar to their live renditions. If that’s really it, then all I can offer is the suggestion for you to catch the band in concert on a future tour. But we are comparing apples to apples here right? Ecliptica in its original recording is a masterpiece of melodic power metal, or at least as near close to one as you can get (I definitely put it up there), and it would’ve been fine without a re-recording. Yet it doesn’t diminish in the light of this one, in fact, I think its helped me to remember just how special these songs are.  I can’t recall the last time I’ve listened to the entire Sonata Arctica catalog as intently as I have in the past month, and I’ve found myself grateful for the opportunity to have my interest renewed. Maybe that coupled with seeing them live has given me a greater tolerance for the flaws of recent albums, and a greater sense of appreciation for all the collective gems and rubies they’ve given to me. Their best work captures the essence of what I love so much about power metal’s potential to uplift my spirits even through the saddest lyric. Its amazing to consider that they’re now regarded as a veteran band within the genre, when for seemingly the longest time they were the up and comers. Fifteen years was a lifetime ago. Happy anniversary Sonata Arctica.

 

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