Category: Edguy

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.

February 24, 2019 2019, Edguy, Power Metal 5 Comments

Nightswimming: Avantasia’s Moonglow

Its been just a little over three years since Tobias Sammet released Ghostlights, an album that stunned me and stayed with me during what turned out to be a darkly turbulent year, enough for me to call it 2016’s album of the year. In my personal Avantasia pantheon, it often tops the Metal Operas as my favorite album of all time (though sometimes when I get nostalgic, dips below them however briefly). It had some bold guest choices on there, with Tobias taking chances on the shaky Geoff Tate, a relatively obscure talent like Herbie Langhans, and Dee Snider (long before his Jasta helmed metallic resurrection) in addition to strong regulars like Jorn Lande, Ronnie Atkins, the great Bob Catley, and of course Michael Kiske. More impressively however, all thirteen of its songs landed knockout punches, each with their own unique sonic identity and sometimes strikingly distinct style —- it was Tobias’ most expertly crafted batch of songs in ages. I was completely surprised, seeing as how my expectations were as low as ever considering my lukewarm appraisal of 2013’s The Mystery of Time (I’ve gone back and listened to it recently, that opinion still stands). I think being surprised when you have low expectations doesn’t necessarily make a good album sound better than it would have had you heard it out of context, but it does make you appreciate whatever’s surprising you more.

With that mind, the opposite can also be true, and it seems to be the case with Moonglow, which has the misfortune of following the impeccable Ghostlights. But I wanna be clear, Moonglow is a good, at times even excellent album that actually distinguishes itself by having its own unique album spanning cohesive sound that seems to originate from its lyrical and thematic concept. That may seem obvious at first, but with post-Metal Opera era Avantasia the styles and songwriting approaches tended to fall into Tobias’ songwriting tropes (for better or worse). Here I’m referring specifically to the “roundness” or softness of the edges on this collection of songs, which largely tend to lack the sharp, hard angles that made up the sheer catchiness of the Ghostlights songs. This works for the better on a song such as album opener “Ghost In The Moon”, where a bouncy Jim Steinman-esque melody is carried along not by the guitars, but rather the rolling piano underneath all the vocal layers. Aside from the post chorus outro, the guitars in this song seem reactive, playing off the vocal melodies, which result in a more rock n’ roll affair than anything close to power metal. Its the album’s most poppy moment, and one of its best because those vocal melodies are simply awesome. The addition of gospel backing vocalists Bridget Fogle, Lerato Sebele, and Alvin Le Bass give the song a sense of joyful enthusiasm and uplifting energy. Tobias has of course used backing vocalists before to great effect (particularly on The Scarecrow trilogy), but this is noticeably different and refreshing.

Likewise I hear this rounded, flowing feel on another standout track, “Moonglow”, where Tobias engages in a duet with Blackmore’s Night vocalist Candice Night. This is one of the smartest guest picks Tobias has nabbed in awhile, eyebrow raising in its reach outside of the metal realm and steering away from obvious choices that we’ve all come to expect. Its a pretty song, again built on piano lines, this time sparsely performed in such a way that conduce a feel appropriate to the nighttime imagery of the song. It strikes me as a cousin to “Sleepwalking” off The Mystery of Time, the dreamlike verses and sunlit choruses for both, but I might love “Moonglow” just a touch more because Night’s vocal approach and clear ringing tone seems particularly suited to Tobias’ power balladry. The background keyboard atmospherics here are something that producers Sascha Paeth and Miro Rodenburg have used often in Avantasia, most notably on songs like “Lost In Space”, “Carry Me Over”, and the aforementioned “Sleepwalking” (basically, the poppier cuts). At this point its something of their production trademark, because you’ll hear variations of it on nearly every band they produce, and it could be tiring if overused (ahem… *stares at Kamelot*), but Tobias’ seems to know when its most effective and when he needs to keep the atmospheric wash at bay.

Similarly the Bob Catley star turn on “Lavender” is another piano driven affair, a drama rich slice of pomp rock that takes a more choral driven approach than his Ghostlights appearance on the masterful “A Restless Heart and Obsidian Skies”. Where the latter was all heart stopping arcing melodies and gut wrenching epic starts and stops, “Lavender” is a rather more subtle tune. The chorus is well defined and appealing, though it lacks a magical transition from the verse/bridge sequence, and you get the feeling that Catley might’ve been underused. He’s a home run hitter, the guy who made “The Story Ain’t Over” such a spectacular why isn’t this on the album fan favorite. I actually like “Lavender” a good deal, and I don’t think its verses nor its chorus are lacking, but I suspect there’s something missing in terms of a powerful buildup, that maybe Tobias misfired when writing the bridge. Its partially redeemed by that magnificent dramatic mid-song detour at the 2:38-3:02 mark, and maybe I’m wrong but if he used that moment just a few more times throughout the song, it might’ve made the difference. Then again, as we’ll see on “The Piper At The Gates of Dawn”, that singular moment might be that much more appealing because of its rarity. In the case of “The Piper…” we’re treated to a magical musical moment at the 5:30 mark, one of the more gorgeous guitar solos on the album and in Avantasia’s history overall. I wish its opening motif were longer, or repeated a few times throughout what is a largely lackluster song, with verses that are strangely devoid of anything musical besides production wash and a drum beat. Its the weakest song on the album, yet has one of its most lovable moments. Strange.

The album’s preview/hype track was the guest vocalist monster “The Raven Child”, which has one of the more gorgeous opening sequences that sees Hansi Kursch and Tobias trade off lines. We got to hear these two together on Ayreon’s majestic “Journey to Forever” a few years ago, and this is spellbinding in similar ways, and a fitting return for Hansi to guest one of Tobias’ songs since his much loved appearance on Edguy’s “Out of Control” way back in the day. His vocal performance on those opening verse sections is the kind of bard-like balladry that we all have come to love him for, particularly in that little “woah-oh-oh” bit towards the end before the big dramatic musical exclamation mark. He and Jorn are a dominating presence on this track, with Tobias serving as the glue guy. Its an album highlight, continuing Tobias’ winning streak of lengthier Jorn-infused epics that will likely be concert staples ala “The Scarecrow”, “The Wicked Symphony”, and “Let The Storm Descend Upon You”. I was also surprised by how much I liked “Starlight”, a song that makes the best use of Ronnie Atkins vocals in a compact, aggressive rocker. I say surprised because I wasn’t that fond of Atkins’ previous solo turn on “Invoke The Machine” off Mystery, so its nice to have my doubts erased as to whether he could deliver as a standalone partner to Tobias. Its also one of the few songs here that really breaks free of that smooth, rounded feel, it being built on urgent tempos and some well timed quiet-loud dynamic shifts.

If I was surprised by Ronnie Atkins, I was reaffirmed by Geoff Tate’s once again excellent performance on a Tobias’ penned tune, because just like his debut on “Seduction of Decay” on Ghostlights, he sounds like his old self on “Invincible”. This is equal parts Tobias being unafraid to write Tate into his higher range that he seems to have avoided in his latter day Queensryche and now Operation: Mindcrime albums, and also just giving him a fully arcing chorus melody that is actually emotionally affecting. And on its direct follow-up track “Alchemy”, Tate sings over a rhythm structure that sits right in that mid-tempo pocket that allowed him to sound so convincing on so many Queensryche gems. The only downside here is that the chorus doesn’t match the intensity of the verses, and ends up feeling a little half-baked, an ugly negative drawback to the rounded, dare I suggest softened approach that yet again makes it presence known here. As far as other songs that suffer a bit in the songwriting department, I wasn’t wild about “Book of Shadows” even though it features Hansi and even Mille Petrozza. Just something about that chorus where it doesn’t seem to get the proper amount of lift under its wings. I do enjoy the contrast of Petrozza’s vocal part, and ultimately I wish he was given a larger role for the album, perhaps a song of his own to kick up the overall heaviness factor a bit. I also liked yet didn’t love the Michael Kiske “Requiem For A Dream”, and its largely due to a remarkable bridge/chorus that makes up for some pretty uninspired verse sections. Tobias has done better with Kiske before, and “Wastelands” is really the benchmark to my ears… unfortunately he didn’t quite get there this time.

I don’t know what to say about the Michael Sembello “Maniac” cover, because we’ve all heard the song before and if you’re like me you always thought it sucked and likely didn’t want one of your favorite artists touching it with a ten foot you know what. But its done, and I hate it and only listened to it long enough for reviewing purposes. I actually really love the bonus track for the deluxe editions in “Heart”, which was written as a tribute to Steve Perry era Journey and sounds the part. The roundness of this album that I’ve been vaguely harping on about throughout the review is both a blessing and a curse, dramatically shaping some songs for the better and hurting others. I think for me personally, this album faced a bit of an unfair uphill battle following up a record I loved so much, but at the end of the day lofty expectations don’t determine whether or not a song feels underwritten or that a chorus lacks some punch. I’ve enjoyed Moonglow for the most part, it has an interesting concept and sonic palette, and I definitely didn’t feel anywhere near the level of discontent as I did with The Mystery of Time. Something I was thinking about earlier was that its going to be well over five plus years since the last Edguy studio album, and having had two Avantasia albums in a row unexpectedly, I find myself longing a bit for his other songwriting side lately. I’d love something shockingly heavy, rollicking, and aggressive in the vein of Mandrake or Hellfire Club, it would be the perfect way to veer in the opposite direction.

July 20, 2017 2017, Edguy, Power Metal 4 Comments

Edguy Looks Back On 25 Years With Monuments

Our lovable crazy Germans from the little town of Fulda are celebrating twenty-five years of rockin’, and in keeping with how these things are usually marked, we’re getting a career retrospective that spans two discs, as well as a third that’s a DVD with a few music videos and footage of a concert from 2004. I wouldn’t normally review these types of releases, because really, what is there to review apart from song selection? But as I did with Blind Guardian and their retrospective, Memories of a Time To Come, I tend to let that stance slide in the face of some of my favorite bands. The interesting thing about this release is noticeable just from looking at the tracklisting itself, to see that it spans the entirety of Edguy’s career, even from their first four (five if you include the Savage Poetry re-recording) albums back when they were on AFM Records. This is the first time that the band has re-released studio versions of those old songs that weren’t live recordings, suggesting that at some point they were able to purchase that catalog back (pure speculation here, maybe they always had it). There have been compilations before, the 2002 AFM double-live Burning Down the Opera (an underrated live record), and the 2009 Nuclear Blast live CD/DVD Fucking With F***, whose title walks the thin line between stupid and clever. There was also an utterly ridiculous cash grab released called The Singles, which wasn’t the hits compilation its title suggests, merely a full length compilation of the individual King of Fools, Lavatory Love Machine and Superheroes EPs.

I guess its no surprise to anyone for me to admit to owning every Edguy album, including the aforementioned live albums and EPs. I am quite the fan. So my real interest in Monuments is in the five brand new songs the band and label have wisely tacked on to the start of the compilation here in order to turn the heads of fans exactly like myself, and congrats to them, they’ve succeeded. Normally these types of compilations get the odd one or two new songs included, the least amount of effort to get something on the release to simultaneously act as fan bait and serve as a promotional vehicle (and they’re usually a re-polished cutting room floor track). So right off the bat I’ve gotta give the band credit for providing a whole EPs worth of new material here, although there’s some real b-side vibes going on in a few of the songs. Our first introduction to these came a month or so ago with the lyric video for “Ravenblack”, which I mildly liked upon first hearing it then, and actually really enjoy now. Its not earth shattering, but its got a patented Tobias Sammet quality hook in its chorus that’s strong and attention grabbing. Its verses remind me of a sonic collage of the past few Edguy albums, particularly in its use of a slowed down pre-chorus bridge (its likely just a common Sammet tendency that I’m picking up on).

Where “Ravenblack” reminds me of the very recent, pop-inflected, hard rock Edguy of their past few albums, so do the other four new songs, and that’s not only disappointing, but a real missed opportunity to do something fun. If they were hell bent on including five, why not actually take the time to develop five distinctly individual songs that somewhat echoed different styles and even eras of Edguy? So you’d get your hard rock “Ravenblack”, but you could also have a new ballad, done in the style of either a recent ballad (“Save Me”) or a classic styled one (“Wash Away the Poison”). Perhaps another song could be a slice of classic power metal in the vein of something off Mandrake or Theater of Salavation. Maybe the fourth song could’ve been developed into something epic and grand, recalling hints of the types of lengthy epics that have practically every Edguy album since the beginning? And the fifth song could’ve been another addition to the band’s growing roster of tongue-in-cheek humorous songs ala “Lavatory Love Machine” or “Save Us Now”. With the amount of ideas that Sammet must generate and stockpile throughout the years, he surely could’ve had seeds for all of the above. It would’ve been a nod to the fans and a self-aware wink to their own career, and before you get on my case and remind me that I once stated that Sammet’s power metal classicist leanings should be reserved for Avantasia, I’ll just say, if a slice of retro-Edguy isn’t allowed on a new studio album, isn’t a compilation album like this the perfect place for it?

 

If you’re wondering what the heck I’m referring to with that last sentence, basically in my review for Edguy’s 2014 album Space Police, I stumbled upon a revelation: “Sammet has rather conspicuously separated the veins of his songwriting approach into his two ongoing projects. Since 2006, Avantasia would receive (and monopolize) the far more serious, artistic vein, while Edguy’s increasing blendings of hard rock with traditional power metal served as a perfect soundtrack in which Sammet could further indulge his wacky, silly, Scorpions-inspired vein”. Of course, 2016’s Avantasia masterpiece Ghostlights confirmed my theory and saw that project lean harder in a classicist musical direction (not quite the Helloween inspired Metal Operas per say, but definitely miles away from anything hard rock-ish). That being said, this is a retrospective compilation album, and I feel like an exception or two could have been made in the new songs —- but now I’m going on about something imagined. What we got instead are mostly a couple songs similar in style and structure that adhere to the general Edguy sonic template of the past decade.

The best of the rest is clearly “Landmarks”, a speedy double-kick fed blitz that if you close your eyes, sounds like it possibly could have fit on Hellfire Club, but really reminds me of something that could have been off 2011’s Age of the Joker or 2009’s Tinnitus Sanctus. The buildup to the chorus is convincing, but the chorus is missing a certain something, an extra dose of uplift to really sell it or introduce an element of drama to the whole thing. Same goes for “The Mountaineer”, whose delightful lead guitar intro reappears as a teasing motif throughout, but can’t compensate for the underwhelming chorus that seems to drag the entire song down with its lack of energy or impact. Then there’s the fairly pedestrian, plodding “Wrestle the Devil”, with its unfocused verses built on hodge-podge Def Leppard-ian muted rhythmic guitar phrasing. Its just the very definition of filler, a song that’s not bad enough to remember, but not good enough to come back for. That also describes “Open Sesame”, which might be memorable for containing one of the band’s more uninspiring titles and refrain lyrics, so that’s something. Its a dud of a track, but in a weird sort of way, its the closest to a self-aware song about rocking out that they’ve ever done in a Scorpions kind of way. Normally I love that kind of stuff, but this needed to be better.

In summary, save your cash on this one, especially if like me you’re no longer a completionist. As for the rest of the compilation, it’d do for someone new to the band, but this is the age where you normally get into new bands by a buddy texting you the link to a YouTube video, or by reading something that gets you to hit up Spotify. These album length compilations aren’t quite the introduction that they used to be, and in fact a bad one could put a potential new fan off. As far as that’s concerned, Monuments is serviceable but severely flawed at the same time. So I’m going to have a little fun as a Tobias Sammet scholar, and go down the tracklisting and give a quick thought on each with a possible replacement track, because they might’ve consulted the die-hard fans for this project, as there’s some seriously questionable cuts here (but others that are inspired!). Here we go:

 

Disc 1 (first five cuts were the new songs)

 

6. “9-2-9” (from the album Tinnitus Sanctus):

  • Actually the strongest cut from the band’s disjointed, unfocused 2009 album, alongside the aching power ballad “Thorn Without A Rose”. Its far more in the pop-rock mold than a lot of old school fans would like, but its worth including here because its so sharply written, with a chorus that is both memorably melodic and lyrics that are actually non-cliched and interesting for the state of mind they present the narrator in. I really love this song and applaud the decision to add it to this compilation.

 

7. “Defenders of the Crown” (from the album Space Police):

  • One of the more puzzling choices on Monuments, it wasn’t even a highlight of the album it was originally birthed for, let alone a career spanning retrospective. Ideally we’d swap it with an older song but in trying to keep the balance of pre to post 2004 songs somewhat even, I’ll call up “Alone In Myself” from the same album, as it landed on that year’s top ten songs list and is one of my favorite Edguy songs ever. Its light gospel touch was inspired and fresh for a power metal ballad, and its lyrical subject matter addressed the subject of loneliness in a way few artists can.

 

8. “Save Me” (from the album Rocket Ride):

  • This one’s a keeper. Rocket Ride was a deeply divisive album that got a handful of things wrong, but just as many right, and none more so than “Save Me”, the soaring power ballad that remarkably became somewhat of a fan favorite. Its been well documented on this site anyway that I’m a big fan of ballads in metal, and that goes double for power metal. I know a lot of folks hate them, but I find that they’re so much more interesting backed with metallic instrumentation and the willingness to be epic. Ballads by balladeers and crooners can be nice, but mostly are pedestrian. Also, its just been a part of rock music tradition since The Beatles and songs like “Hey Jude” and Zeppelin with “Stairway to Heaven”, so let’s just all agree that they’re here to stay! *ducks*

 

9: “The Piper Never Dies” (from the album Hellfire Club):

  • An undeniable Edguy classic, an instant contender for any top ten Edguy songs list debate, and quite possibly in the running for a hypothetical top ten best power metal epics list. Do you feel me? 

 

10. “Lavatory Love Machine” (from the album Hellfire Club):

  • A ridiculous song by any standards, it was Edguy’s second stab at delivering a comically inclined song and ended up being the perfect vehicle to give their budding inclinations towards hard rock a test spin. Yes the lyrics are absurd, the mid-song “spoken word” pilot’s address is needless and awful, but dammit all if its not one of the catchiest hooks they’ve ever knocked out. The video was hilarious (again, except for the awful pilot’s address thing) —- I’ll always laugh at Tobias’ hitting a passenger on the nose whilst taking off his jacket or him tripping and stumbling towards the airline stewardess (also, in 2004 that was a relatively high budget video for a non-mainstream metal band). Humor started in Edguy with “Save Us Now” off Mandrake, and was a shocker in the context of that relatively dark and serious album, particularly coming right after Theater of Salvation, the band’s most serious and near spiritually inclined album as well. “LLM” was a signal that this was a permanent part of the band’s identity, a nod towards their Scorpions influences, and also a signal that their sound was about to change. A keeper.

 

11. “King of Fools” (from the album Hellfire Club):

  • It could be argued that this was the band’s first legitimate “hit”, a song that made waves in Germany and even dented the charts there (they actually played this live on that country’s McDonald’s Chart Show, a sort of Top of the Pops for Deutchland at the time). It was their first and really only brush with genuine mainstream flirtation, and its easy to see why —- it was simple, basic, and had an easy hook. It played to a market that was becoming receptive to harder music again after the surprising success of Bon Jovi four years prior as well as Iron Maiden’s even more surprising transcendent comeback. I suppose on that ground it could merit consideration, but is it really more deserving than the awesome “Navigator” from the same album? I’ll lean in favor of the latter and vote to replace.

 

12. “Superheroes” (from the album Rocket Ride):

  • Following the template laid down on “King of Fools”, Edguy decided to try their hand at another potentially radio friendly tune in “Superheroes”, a lyrically nonsensical ode to rocker independence (I think). Its an okay song with a video that rivals “Lavatory Love Machine” in sheer silliness, but unlike that song’s self-deprecating message and 80s metal sense of swagger, “Superheroes” was far too saccharine for its own good. Voting to replace this one, my choice being the classic “Painting On the Wall” from Mandrake, that album’s sole single, one of Edguy’s finest songs ever and a glaring oversight here.

 

13. “Love Tyger” (from the album Space Police):

  • I love this song, and it still sounds as lively and fun as it did three years ago when it practically leaped out of the speakers upon my first pass through Space Police. Its the closest Edguy has come to morphing into The Darkness, but its one of their most fully realized hard rock/pop songs. Its also cleverly written, built on Sammet’s alliterative, repeating vocal pattern during the chorus, giving the song a tongue-in-cheek vibe all while swinging with real strut and swagger. It was the second single off the album, but perhaps should’ve been the lead —- that being said, I’m not sure if the band or label picked the track listing (seems like the label), but good on whomever for including this gem.

 

14. “Ministry of Saints” (from the album Tinnitus Sanctus):

  • Picks like this are what makes me think the label cobbled this track listing together and the band just grunted and said sure, because this is the clear winner for the most lackluster Edguy single ever. It was the lead off promotional choice for Tinnitus Sanctus, and despite its aggressiveness, it was a dud of a single. That it represented the band’s worst album has not endeared me to it over the years, it bores me still, but “Thorn Without A Rose” would be a fine replacement from the same album. That might risk things getting too ballad heavy for some folks tastes but I’m down for it!

 

15. “Tears of a Mandrake” (from the album Mandrake):

  • Yes, a keeper, and one of the band’s finest songs to boot. Seriously they could just put all of Mandrake on here and I’d have kept my mouth shut.

 

Disc 2

1. “Mysteria” (from the album Hellfire Club):

  • One of Edguy’s most aggressive moments, and a worthy inclusion to this compilation. I will point out that they might have considered including the version of this song with guest vocals from Mille Petrozza of Kreator. It was a bonus cut from the Japanese edition of Hellfire Club if I remember right, but his fiercely angry vocals made an excellent song even better.

 

2. “Vain Glory Opera” (from the album Vain Glory Opera):

  • Ah, finally something pre-1999! This was the first Edguy album where they really found their sound, having previously released the largely demo-based Savage Poetry and their “true” debut in Kingdom of Madness where they were just figuring things out. Its not a perfect album by any means, but it was certainly exciting stuff to hear in the late 90s. This is one of its standout moments, though it hasn’t aged as well as you’d hope, its a slice of Edguy history and deserves to be here.

 

3. “Rock of Cashel” (from the album Age of the Joker):

  • If you go back and read my best albums list from 2011, you’ll see Age of the Joker listed somewhere in the middle of the top ten. That was definitely a mistake, but the blog was barely a month or two old and I hadn’t really developed a process of testing myself against my own biases. Thus Edguy got listed with a mediocre album (though, one that was certainly better than Tinnitus Sanctus), and “Rock of Cashel” was certainly a highlight on it, along with the gorgeous ballad “Every Night Without You”. What this song in particular had going for it was its intriguing Celtic motif that ran throughout, but where such an element made it stand apart on that album, it doesn’t seem to hold up to scrutiny here against the band’s better efforts. If we’re picking a replacement from that same album and I can’t have that wonderful ballad, I’d pick “Breathe” or the weird but amusing synth rock of “Two Out Of Seven” as more exciting choices.

 

4. “Judas at the Opera” (from the Superheroes EP):

  • One of the more surprising left field inclusions on Monuments, “Judas At the Opera” was enough of a reason to spend the cash on mail ordering the Superheroes EP, featuring a vocal collab with one Michael Kiske, sort of a precursor to his return with Avantasia in 2008. I’ve always contended that Sammet is probably the best songwriter Kiske could ever have hoped for and this is a prime example. I will however point out something that never really bothered me until now, but I question the inclusion of the homophobic lyrics here. Given what I’ve come to know about Sammet throughout the years, it was a tongue in cheek lyric (and taken in context with the entirety of the song, it is a slightly humorous song), and he meant no serious offense. But hearing it now for the first time in awhile, it stands out as a glaring flaw on an otherwise awesome song. For that reason alone, I don’t know if it belongs on a compilation that’s supposed to represent the band’s best moments. Reluctantly would replace it with “The Asylum” from Rocket Ride, an overlooked epic that had both grit and gravitas.

 

5. “Holy Water” (from the King of Fools EP):

  • Yes, keeping this one, a thousand times yes. I will always wonder why the heck Edguy didn’t include “Holy Water” on either Mandrake or Hellfire Club, depending on when it was written. It has the feel of Mandrake era high drama but with Hellfire Club style hard rock guitars, and is so excellent that it could have been a single off either album. Its relgation to a b-side status for “King of Fools” no less was nothing short of the biggest oversight of Edguy’s career. This is a contender for the top ten Edguy songs list, and just a pure, joyous musical reminder of why we love bands that play music like this. At least its inclusion here redeems the mistake somewhat and gives the song another chance in the sun.

 

6. “Spooks in the Attic” (from the Superheroes EP):

  • Just like its fellow Superheroes EP lurker “Judas At the Opera”, this was one of those songs strong enough to warrant a purchase of that release by itself. Not only is “Spooks…” well written, but it has a kinetic energy flowing through it that is a combination of its urgent tempo, the incredibly well executed backing vocals, and some deft guitar work from Jens Ludwig and Dirk Sauer. This was one of the first displays of Sammet understanding that he had stumbled upon a great backing vocalist team whose work elevated his songwriting. Two of the key members of the future Avantasia group vocal recording sessions are present here, the immaculate Amanda Somerville and Thomas Rettke. An inspired pick.

 

7. “Babylon” (from the album Theater of Salvation):

  • Duh. “Babylon” stays, its an all-time power metal classic that transcends even Edguy. That unforgettable guitar melody has converted so many over to power metal that it deserves its own spot in any future power metal hall of fame. The lyrics make no sense, but that never mattered to anyone.

 

8. “The Eternal Wayfarer” (from the album Space Police):

  • This isn’t a bad song by any means (its downright awesome from 5:03 to 7:00), but it has no business being on this list because it wasn’t even in the top three best songs off Space Police. As an Edguy epic it doesn’t hit that sweet spot of over the top bombast and sailing on stormy seas drama. With that in mind, I’m going to replace it with another Edguy epic seeing as how we’re a little light on those on Monuments, and go with the transcendent, “Theater of Salvation”, which is one of my all-time favorite Sammet cuts. That song is so epic I have to brace myself every time I listen to it, because when that breathless guitar solo kicks in at 4:58, its an out of body experience.

 

9. “Out of Control” (from the album Vain Glory Opera):

  • An often overlooked gem from the late 90s that saw two titans of the power metal resurgence converge at an amazing time in both of their careers, “Out of Control” features Blind Guardian’s Hansi Kursch on guest vocals. He’s not all over the song, but chimes in for the refrain, a subtle inclusion that somehow makes all the difference in the world. That’s the power of Hansi. I’ve been using the word inspired too much during this review, but let’s give Sammet some credit here —- picking Hansi to elevate an already awesome song was certainly deserving of that adjective. (Just also want to point out that this was the first Edguy song I ever heard, back in 1999 on WRUW’s Metal Meltdown radio show on Friday afternoons hosted by Doctor Metal. That show was massively influential in my becoming a power metal fan, in fact, I give Doc pretty much all the credit. The show is on terrestrial radio in Cleveland, but the station was pioneering in its early adoption of broadcasting on the internet starting in the late 90s, which is how I was able to listen it. Its still on the air on Tuesday afternoons, the Doc a constant source of what’s happening in power metal, give it a listen.)

 

10. “Land of the Miracle” (from the album Theater of Salvation):

  • If you have yet to listen to Theater of Salvation, trust me when I say this, you need to remedy that straight away. Its one of the all-time power metal classics and was a part of that late 90s power metal movement that established the genre and moved the hearts of so many fans who craved to hear music like this. Truthfully you could pick any cut off that album for this compilation and I’d be okay with it, and “Land of the Miracle” qualifies with particular honors as a fan favorite, particularly as a live sing-along. Its not my personal favorite Edguy ballad, but its the closest thing Edguy have to a “Bard’s Song”, and is deserving of its place here.

 

11. “Key to My Fate”  (from the album The Savage Poetry (re-recorded version)):

  • Wow, we’re just now getting to The Savage Poetry, an album that you’ll be forgiven for overlooking because the band doesn’t really play anything from it these days. A little history: the original Savage Poetry was the 1995 album length demo that got the band signed, and it was technically followed up by their “debut” album Kingdom of Madness in 1997. But the band almost immediately disavowed KoM as deeply flawed (and it was, albeit still listenable), and quickly surpassed it with Vain Glory Opera and of course, Theater of Salvation. I still remember hearing Sammet in an interview in 1999 with the aforementioned Doctor Metal on The Metal Meltdown explaining the decision to re-record the demo, that the songs deserved another chance to shine. He was right, because The Savage Poetry is an excellent power metal album that is overshadowed by being sandwiched between Theater and Mandrake and Avantasia’s The Metal Opera Pt 1. The ballads “Roses to No One”, “Sands of Time”, and the thunderous epic “Eyes of the Tyrant” are classics in my book. As is “Key to My Fate”, one of the band’s finest up-tempo cuts with as glorious a chorus you’ll ever hear.

 

12. “Space Police” (from the album Space Police):

  • I’m cool with this being here, because I loved this song on the album and its semi-nod to the power metal Edguy seems to fit well with everything here. Others might disagree, but I thought Space Police was a return to form for Edguy, and songs like this were a major reason why. Its admittedly a little weird with its spacey sound effects and its slow tempo drop just before the accelerating chorus, not to mention its bizarre lyrics. But with Space Police, Edguy became Sammet’s vehicle for indulging this looser, sillier, tongue-in-cheek rockin’ side of his musical inclinations, and he did it with confidence here.

 

13. “Reborn in the Waste” (unreleased 1995 demo, Savage Poetry):

  • As indicated above, this is apparently an unreleased song from the original Savage Poetry demo, which is a cool little bonus for the sake of the band’s history. As a song, its unremarkable, and its not surprising that it was left off the original Savage Poetry demo —- to me it actually sounds like something that could have fit in on Kingdom of Madness which is unrepresented here for good reason. If you’re wondering why I’d consider the original Savage Poetry demo to be better than Kingdom of Madness, at least in songwriting terms, well its the classic rock band affliction right? A band has all the time in the world to write their debut, but only months or less to knock out that all important sophomore release. Make no mistake, even though Kingdom is technically their debut as a signed professional band, it was spiritually their troubled second album. On their “third” attempt, they knocked out Vain Glory Opera, and we were off to power metal glory.

 

So this went a little long, but its been past time for a little Edguy retrospective, and Monuments provided the perfect excuse to indulge in a little fanboy-dom. While I won’t be buying it, it did cause me to go back and revisit the entire discography which was fun and surprising for what I found myself positively responding to or not. Albums I thought were okay at the time have not aged well (Age of the Joker chief among them), but there were more than a handful of excellent songs that I’d almost forgotten about just from years of not listening to the albums they were on, particularly on Rocket Ride. What I do hope Edguy does in keeping with this whole anniversary thing is finally come back to the States to give us long suffering fans a proper tour. Yes it’d be a club tour, but suck it up and team up with another power metal band (Dragonforce perhaps?) to make it workable financially and ensure a draw. They’ve only toured the States twice before (2005 and 2009, never in Texas btw), and seem to lack the will to play the smaller venues they’d likely have to. But they have fans here who deserve to see the band, and likewise, the band deserves to see them.

December 8, 2016 2016, Alcest, Black Metal, Darkthrone, Edguy, Fenriz, Power Metal, Theocracy, Tobias Sammet 3 Comments

The Belated Fall Reviews Cluster: Darkthrone, Sonata, Theocracy, Alcest!

This is late incoming, oh I know, but better late than never right? This was supposed to come out in November but some real life stuff got in the way and exhaustion claimed most of what spare time was left. So while that left little time for writing, I did manage to get some extra listening time on all these releases below which proved critical in changing my opinion on one or two. This isn’t all that I listened to (hardly), but we’re running out of 2016 so this will be the last cluster of the year —-with that in mind, you might be hearing about a few albums not listed here on the upcoming Best of 2016 double feature. I’ll keep this preamble short, only to mention that I’ll have a hard look at the new Metallica coming next, with the year end lists following closely. This has been a rough year for the blog in terms of the update schedule, and one of my resolutions in 2017 is to simply write and publish more. Thanks for everyone who’s patiently stuck with me!

 

Darkthrone – Arctic Thunder:

If you have any interest in Darkthrone whatsoever (and I think you should), you’ve probably heard by now that this new album is something of a shift in style for them. That’s true to a certain extent, it is markedly different from their past three to four releases which found them delving deep into an almost black n’ roll approach to experimenting with more classic 80s metal stylings on 2013’s The Underground Resistance. But where those albums were taking the band into new, explored territory (for them anyway), Arctic Thunder is an about face to the black metal Darkthrone of the turn of the millennium, recalling the style of Plaguewielder and Hate Them. I imagine that for a lot of people the news that Darkthrone was returning to black metal brought about hopes of the band returning to their early, second wave style of A Blaze in the Northern Sky through Transilvanian Hunger, sort of what Blut Aus Nord did with their awesome and majestic Memoria Vetusta III. That would’ve required a severe and intentional handicapping of the sonics in the recording however, and I just don’t think that either Fenriz or Ted (Nocturno Culto) are all that interested in recreating the past like that.

In fact, sonics are the only thing that Arctic Thunder has with their black metal past, because even though it is far more grim and frost bitten than recent albums, you can’t tell me that middle riff that accelerates in “Inbred Vermin” is a black metal riff —- it sounds like it could be lifted off a mid to late 80s thrash album (not being Fenriz, I can’t pinpoint exactly what band and album it was inspired by). But this is a cleanly produced album, for all its first-take approach, Ted’s guitars are upfront, fresh and often crisp, full of nuance and intricacy in the actual execution of the riffs —- and Fenriz’s drumming is as full bodied and loud (the complete antithesis of the approach to drums in most early second wave Norwegian black metal). I had a strange time with this album as a listener, at first loving it due to its radical departure from what they had been doing and for the pleasure of hearing a colder, darker Darkthrone once again. That actually lasted awhile, a few weeks in fact. But over time I’d begun find myself longing to hear Circle the Wagons and The Underground Resistance, and when I went through those albums again I realized what Arctic Thunder was lacking (and it always comes back to this) —- hooky, memorable songs.

There are a few moments that fit that bill, “Tundra Leach” serving as an excellent album opener, with a bleak, dirty sounding riff that accelerates into tremolo flourishes. There’s an awesome moment midway through where an abrupt shift occurs —- built on pounding, tribal beat percussion and a classic metal riff that takes us into Metallica’s “Creeping Death” territory (think of the moments before “Die! By my hand…!”). Then there’s “Boreal Fiends” which successfully takes on the same approach, hitting you with a memorable riff straight away, this time with loud/quiet dynamics in between verses, only to lead to an about face mid-song. That shift, at the 4:18 mark, is as grin inducing as it is unexpected, Fenriz coming back from a funeral doom tempo with a cowbell accented over a meaty, flat out heavy riff. The guitar solo that follows is a surprise as well, a rare blast of technicality and intricacy from a band that is essentially built from large, wet slabs of uncut riffs stacked hither and yon. The thing I’ve realized after umpteen listens to this album however is that there’s not enough of that kind of variety, not enough surprises. For instance I like the main riff on “Burial Bliss”, it coming across as a sort of black metal take on the Misfits, but the song lacks a hook in a bad way, being one of the chief examples of how things can get repetitive here rather quickly. I have no problem with the band returning to this more blackened approach, but they clearly need another album to fully re-acclimate.

 

 

Alcest – Kodama:

Some of you might remember that Alcest was a Metal Pigeon Best of 2012 finisher with their magnificent Les Voyages de l’Âme, the album that made a fan of me with its panoramic scope and sweeping beauty. Beauty of course is a key word when discussing Alcest, because they don’t shy away from it, their albums chock full of melodies that can only be described as such. If you’re not familiar at all, Alcest is the pioneer of French black metal, which took the atmospherics of second wave Norwegian black metal ala Burzum’s Filosofem and deconstructed its metallic nature, replacing harsh, atonal riffing with dreamy, shoe-gaze inspired melodicism. They use guitars and keyboards in equal measure, whatever it takes really, to achieve a sound that is the aural equivalent of a watercolor painting, where most metal regardless of subgenre is more akin to a construction project (foundations, walls, etc… you get the idea). On that aforementioned album, they blossomed into that rare metal band that could make fans of non-metal folks, particularly if they’d ever been a fan of Sigur Ros, Porcupine Tree, or even Smashing Pumpkins for that matter (that band’s influence on Alcest is under discussed and overlooked).

Disappointingly for me, Alcest decided to abandon their blackgaze approach for 2014’s Shelter, leaving us with a record full of bright, sunlit post-rock that was certainly pretty, but was noticeably lacking the expansive vision and bottomless depth of Alcest in their full glory. I’m sure they’re glad they made that record, one that pushed them in a way to expand their sound and to see what could come of it artistically. What I suspect they realized however, was that the darkness that comes from their black metal origins and influences is not something that’s easily shed. Without it, they sounded to me like another post-rock/shoegaze band, a good one certainly, but as an Alcest album Shelter was merely pretty on a surface level, it never pulled me in deeper. Thankfully, they’ve happily returned with their full complement of influences on display, as they demonstrate here with the awe-inspiring Kodama. Thus proving that the darkness they explore through black metal aesthetics is the key to their unlocking that cosmic door from which spills their transcendent sound.

This album is simultaneously a return to form and a departure, the latter being the injection of a album wide pronounced Japanese influence; not only for the album title (“kodama” literally means both “tree spirit” and “echo”) and the accompanying artwork that depicts a Japanese woman in some uncomfortable looking waters, but mostly for the Japanese folk melodies that work as musical leitmotifs throughout the album. I could pinpoint an example but that would be a little silly, because this influence is coursing through almost every riff, melody, and extended musical passage of Kodama —- unlike a lot of cases where metal bands will use cultural music as window dressing and stick to their own sound otherwise, Alcest here submerge their songwriting into this wellspring of Japanese musical inspiration entirely. Frontman, vocalist, guitarist, and all around songwriter Neige is on record about the purpose of his doing so, that the album is directly inspired by the animated film Princess Mononoke, and that in his words, its about “the confrontation of the natural world and the human world”. That was something he witnessed firsthand when Alcest played in Japan a few years ago, stating, “Japan has a hyper technologic society, always ahead of its time, full of crazy items, gadgets, etc, but yet people there are very attached to tradition, nature, and spirituality.” Of course, if you’ve seen the film (you should, its a classic), its easy to tie Neige’s own observation and tie it into the film’s narrative, both boiling down to this idea of duality and how we all deal with it in various forms.

I love the intellectual depth of conceptual albums like this, in many ways reminding me of 2015’s almost album of the year, Hand. Cannot. Erase. by Steven Wilson. Its the stuff that concept albums should be made of, instead of what we usually get in rock and metal —- mostly paper-thin surface narratives of ridiculous stories that have little to no meaningful echo to them whatsoever. I’m not trying to be snooty here, I love many albums that meet that description to a tee, but when a zillion other bands deliver their own version of it, it gets a little boring, trite, and dumb (after awhile you stop paying attention to bands’ concepts altogether). And setting the concept aside, Kodama is a musical wonder as well, eschewing traditional verse-chorus-verse pop formatting in favor of longer tracks with more of a storytelling song structure. Hardly anything repeats, but somehow all of its seven tracks and forty-right minutes are captivating —- the parts that sound like a build up actually deliver pay-offs, and there’s an equal balance of light and shadow as heavy riffs run headlong into transcendent ethereal sequences.

On the first single and most representative track matching the preceding description, “Oiseaux De Proie, a loose, jazzy mid-song bridge plunges dramatically into perhaps the album’s most up-tempo, accelerated moment (check the 5:50 mark). Its an adrenaline rush, largely due to how unexpected it was. This lack of foreshadowing is what keeps your attention rapt throughout Kodama, because you never really know what’s around the next minute mark. And I love how Neige does unexpected things texturally as well, such as the prominent use of the bass as a primary melodic instrument in the opening/title track, a quirky choice that creates separation with the higher pitched guitar accents that drift and careen above it. He also uses minimalist guitar to hearken to that Japanese sound that was discussed earlier on “Eclosion”, the patterns and phrasing and sleek, clean tones mimicking that country’s native folk melodies. I also love the Smashing Pumpkins’ Siamese Dream influences that wash all over that track towards the middle bridge onwards —- Neige acknowledges them as a major influence and there are times when you can close your eyes and imagine this as something from their mid-90s era output. That actually might be my favorite on the album, its peaceful lone-guitar fade out saying more in those few delicate notes than many bands manage in an entire song. Ditto for closing instrumental “Notre Sang Et Nos Pensées”, with its descending chord patterns blossoming into one of the year’s most memorable musical moments. Make no mistake, this will be on my album of the year list, only question is how high.

 

 

Sonata Arctica – The Ninth Hour:

Its kind of unfortunate that I have to write this review before I’ll be seeing the band live here in Houston come mid-December, because as you might remember from their last album Pariah’s Child, I ended up enjoying most of its songs far more after I had heard their live airing a few months after my initial review. That isn’t to say I didn’t enjoy that album at all before the concert, but moreso that Tony Kakko’s impressive live performance both as a vocalist and a performance artist helped me see why he made the choices he did on the album as a songwriter. So I wonder, how much will my opinion change on songs like “Life”, or “We Are What We Are”, “Fairytale”, and “Closer to an Animal” (those being the primary cuts they seem to be pulling from this disc). They’re not bad songs by any means, the former being the first music video filmed for the album, with a chorus built on some amusing lyrical self-criticism by Kakko, who sings, “Life is better alive”, a lyric we could tear to pieces if it weren’t followed immediately by “It is a dumb thing to say / But the fact won’t wane away”, which in a nutshell encapsulates the theme of the song. Sonata Arctica have never been ones to shy away from positivity as a lyrical theme, particularly as of late —- it does not however make for a hook as strong as “The Wolves Die Young”.

But where Pariah’s Child was in some ways meant to be a classicist Sonata album (that’s debatable), The Ninth Hour isn’t explicitly held to such guidelines because its a part concept album, or thematic album to be more precise. The Stratovarius influence over Sonata Arctica looms particularly large here with the theme of environmentalism and reigning in of humanity’s careless destruction of the planet. If you weren’t familiar with Stratovarius albums around the turn of the millennium, that’s pretty much what those guys sang about for a handful of ’em. So a thematic leaning song like “We Are What We Are” is given license to be a bit more expansive, less concerned with delivering those knockout Sonata hooks we love in favor of non-romantic balladry that leans more towards White Lion’s “When the  Children Cry” than “Tallulah”. It only works because despite its too slow for slow dancing pace and downtrodden vibe, Kakko’s melody is charmingly simple and beautiful, almost lullaby-esque. Similarly on “White Pearl, Black Oceans Pt II” (a sequel to the original much beloved fan classic from Reckoning Night), Kakko allows a more overwhelmingly lyrical songwriting approach to govern things, which makes sense considering the narrative nature of the song in continuing a story. But in 2016, that means its a track that is substantially slower than its predecessor, lacking the midtempo and uptempo change ups that so characterized the original. Some might not like that, but I think the melody really works here, used as more of a Broadway show centerpiece complete with mimicking orchestral arrangement.

Not everything is slowed down though, there’s the surprisingly heavy and accelerating “Fly. Navigate. Communicate”, which took me awhile to get into but I now can appreciate for its striking aggression alongside its subtle lyrical hook. And “Rise A Night” is a classic uptempo slice of Sonata power metal with a nice verse and lead in bridge, only to meet a middling, aimless chorus that lacks a defining hook, a trait that handicaps the entire song sadly. Then there’s the strongly starting “Fairytale” where the inverse is the problem —- we’re treated to a memorable hook that doesn’t hit as hard as it could due to there being no build up to it via tempo shift or fully formed bridge. Of course when it comes to Sonata Arctica albums post 2004, we’re not expecting complete perfection, just some moments of perfection… and here’s where The Ninth Hour is worryingly deficient. There’s nothing here that I’d really consider adding to my Sonata playlist on the iPod, and there usually is at least a track or two per album. I’d give a huge maybe to the charming ballad “Candle Lawns”, but I’ve really gotta be in the mood for it. I honestly don’t know what to make of this album, and I know that makes for a crappy review —- but there’s nothing here that is shockingly bad like we’ve had in spots on the past three albums. In fact, its all just sounds alright, but I know I don’t often come back to revisit an album that’s just “alright”. Maybe I’ll have more to say after I see them two weeks from now.

 

 

Theocracy – Ghost Ship:

I’ve been a quiet admirer of the Atlanta based Theocracy and its 98-01 era Tobias Sammet channeling vocalist/songwriter Matt Smith for a few years now. I got into them with 2011’s As The World Bleeds, an album of power metal songwriting perfection of such magnitude I strongly believe its one of the classics of the genre. I had first heard of the band way back in 2003 with their self-titled debut which was promising despite its flaws, but I promptly cut my interest when I learned that the band was outwardly Christian. Sure enough, the lyrics checked out, and I naively wrote the band off. In my defense I was young, stupid(er), and not mature enough to reconcile that it was okay to enjoy a band that was outwardly religious in their lyrics if I enjoyed their music in general. Looking back now, I suppose I thought it was anathema, to be into metal and subgenres like black metal which were largely about the darker stuff in life while simultaneously listening to something so religiously positive, so opposite in spirit. Never mind that I enjoyed U2 with all their Christian background, nor that I was conveniently ignoring the strongly religious overtones of Edguy’s classic Theater of Salvation. In between, I missed 2008’s Mirror of Souls, another quality release with some excellent songwriting, and when I finally did come around in 2011, I chickened out on publishing a fully written piece on Theocracy (if I remember right it was about whether or not it hypocritical to like their music without sharing their views on faith… guess the jury’s still out there). So essentially, no one has really known about how much I’ve loved this feisty prog-power metal band’s music, when I’ve been all too eager to champion any really worthwhile American bands of this genre. In all… Theocracy deserved better from me.

I’m quite keen on rectifying this here, even in a shorter, abbreviated review, although I might not have done the band a service had I reviewed this album shortly after first hearing it in mid-October. For whatever reason, I was having a devil of a time getting into Ghost Ship for the first few weeks I had it, and maybe it was due to other things competing for my attention (one of which may have been the ultra-negativity of the 2016 election… maybe I just wasn’t ready to hear something bright and positive just then…?). That seems so absurd and unlikely now given how much I’ve been enjoying these songs on their own merits, and that last bit is crucial to those of you who are already familiar with their past albums: In short, as hard as it might be, don’t compare this album to As The World Bleeds! You will of course, its only natural, but I say that for two reasons; first, …Bleeds was a uniquely excellent album, a perfecting of a specific type of aggressive power metal and dense, solid production that Edguy first introduced with 2000’s Mandrake; and secondly, because Theocracy has greatly expanded their sound intro far more progressive areas with Ghost Ship, toning down the pure Euro-step power metal influences and increasing their Queensryche influenced tendencies a bit. This is a far reaching, thorough permeation, affecting all the songs on the new album across the board, and maybe it makes them less instantly accessible —- though it must be stressed, that accessibility is still there, it just requires more listens than their previous albums.

You’ll hear that accessibility most vividly on leaner cuts such as the title track or on the lyrics contrasting cheerfulness of “Castaway”. Regarding the former, Smith is among those few in power metal circles so gifted at peppering his already hook-laden songs with those glory-claw raising micro-hooks like the ones heard at the :40 second and 2:02 minute marks. They come via his simply changing the key of his vocal delivery of a verse lyric mid-phrase, from a not-quite minor key to an abrupt, full-on MAJOR key. Its such musical ear-candy, and mark of a talented songwriter who knows how to utilize the technical prowess of his band and his vocal ability to inject these viscerally energy packed moments into the fiber of these songs. That awareness as a songwriter, to keep his songs dancing on two feet like a boxer in his fighting stance, unpredictable and ready to strike at a moment with a flourish of a micro-hook or ultra-melodic figure or accent is what keeps our attention even through lengthy epics such as the nine-minute “Easter”. Midway through we shift from a thunderous, choral vocal backed section into a solo acoustic guitar sequence with a gorgeous, arcing melody at the 6:38 mark that will always have me returning to this song. That’s the kind of attention to detail that characterized the best of Tobias Sammet’s lengthier epics back in the classic Edguy era (think “Theater of Salvation” and “The Pharaoh”).

Of course its not just the minor details that make these songs work. They’re carefully crafted with strong melodies and semi-technical instrumentation, with often gorgeous guitar work from Val Allen Wood and Jonathan Hinds, as well as soaring vocals via Smith’s helium tinged tenor. As I sit here listening to this album for the millionth time, I wonder if Smith’s English as birth language familiarity is his secret to songwriting success as an American well-versed in writing in the European vein of power metal. Theocracy can bring the wood, but they never get really heavy like Iced Earth, Pharaoh, or even Kamelot —- all fellow American power metal bands who utilize thrash metal elements or in Kamelot’s case, prog-rock and mid-tempo time signatures. Those American and British stylistic influences temper their power metal and make it easy for them to match their vocal melodies to lyrics in a suitable manner (I realize Roy Khan is of Norwegian decent, and he of course wrote most of Kamelot’s beautiful lyrics, but he’s an outlier in this case). Theocracy is a rare duck being an American band coming from the Edguy/Avantasia/Gamma Ray/ Helloween school of power metal, all of whom are guilty of lyrical atrocities. Smith’s songwriting from a lyrics to vocal melody perspective is so effortless, so smooth, that it actually helps the melodies flow like water —- there’s nary an awkward pause. His lyrics are finely written, and seemingly always set to melodies that fit them perfectly like a glove. That pairing is likely to be the litmus test for most people, can they allow themselves to enjoy those melodies despite them being set to (very finely written) spiritual lyrics. I definitely can.

 

February 4, 2016 2016, Edguy, Power Metal 13 Comments

Avantasia Searches For Immortality With Ghostlights

I can’t remember ever anticipating an album with such a nervous bracing for a potential disappointing letdown, as I have with this seventh iteration of Tobias Sammet’s metal/rock opera shenanigan machine. Over the years there’s been a slow erosion to my confidence level in Sammet’s output —- from the wavering quality of the past few Edguy albums from merely okay to mediocre and back to okay again, to the stunning realization that I simply didn’t enjoy most of the last Avantasia album The Mystery of Time. Once his biggest fanboy this side of the Atlantic, I’ve had to start qualifying reviews and random conversations with friends with statements such as “Well, he always delivers a few gems each album”, or the old standard, “Give it time, it’ll probably grow on you (and me)”. But if I’m honest with myself and all of you, I’ve long thought that 2001’s Mandrake was the last time Sammet released a flawless, front to back masterpiece. Its such a long time ago that we tend to forget that it was hot on the heels of his Avantasia debut, The Metal Opera Part I, an album that upon its release was widely recognized as a monumental work in power metal history and an emblematic marker that we were then experiencing the subgenre’s golden era. For those of us in the late 90’s who were aware of this golden era as it was happening, we viewed Sammet as one of a few central figures in a larger, multi-band fueled wave of classic power metal releases —- he had already ripped off masterpieces in 1999’s Theater of Salvation and 1998’s Vain Glory Opera, and in the wake of Mandrake, he seemed nigh unstoppable.

Yet suddenly Sammet missed out on perfection for the first time in years with 2002’s The Metal Opera II, which though much loved by most of us, admittedly felt inferior as a sequel. On the Edguy track, 2004’s Hellfire Club was a thrilling, inventive, yet schismatic album with a few songs that fell short (we tend to overpraise this album because of how aggressive it was, but it also had the distinction of introducing hard rock elements into the band’s sound, something a segment of fans would later lament). Post Hellfire Club, things got complicated: Subsequent Edguy releases began to infuse Sammet’s childhood roots of 80s pop-metal, AOR, and arena rock —- thus pushing out most of the traditional power metal elements the band’s earlier records were based on. When Sammet announced in late 2006 that he was resurrecting the Avantasia project, I think many of us thought that it’d be his power metal outlet, even if we weren’t getting The Metal Opera “Part III”. This isn’t intended to be a history lesson, but indulge me for a bit: Sammet unleashed a trio of Avantasia albums over the following years that were far more in line stylistically with the AOR/hard rock/pop-rock explorations he was continuing in Edguy, and power metal was limited to usage as a flavoring throughout most of The Scarecrow Trilogy. While a very vocal segment of his fanbase cried foul and openly yearned for the power metal glory days of the turn of the millennium, I found myself alongside a host of others who didn’t mind Sammet’s stylistic choices and found much to love about both Edguy and Avantasia releases during this period.

Yet even with that said, all those releases had their share of flaws (even the aforementioned Scarecrow Trilogy, which I loved), and I began to develop a theory or three on just why that was the case. First, I suspect that Sammet’s exploration into expanding his songwriting palette via stylistic change was a process that was bound to inevitably produce some filler. I have no reasonable explanation as to why crafting hard rock/AOR styled songs would be trickier than penning classicist power metal as it seemed to be for Sammet —- maybe that’s just the way he was wired. The point is that the actual process yielded positive, mediocre, and negative results, proof that he was still finding his footing while the missteps were being documented on the records. Just go back and listen to how utterly schizophrenic Edguy albums such as Rocket Ride, Tinnitus Sanctus and The Age of the Joker were. Secondly, I think that he was potentially spreading himself too thin on the songwriting front —- consider that from 2008-2013, he ushered out four Avantasia albums with two Edguy albums sandwiched in between. Thirdly, I think in that aforementioned span of years, Sammet was having trouble finding a way to separate the now musically identical Avantasia and Edguy, an array of guest vocalists being the only element separating the two projects. It made me question why he felt a need to keep Edguy around at all, considering the lopsided ratio of albums being released by both bands.

 

 

The surprising artistic success of Space Police and its showing of strength on the songwriting front was a great sign for Sammet having reestablished a connection to Edguy. It wasn’t a perfect album by any means, but it had an identity that was in sharp contrast to Avantasia, and it seemed to be a statement of what Edguy is now a vehicle for —- fun, sometimes silly hard rock / traditional heavy metal that only rarely takes itself seriously. Its guesswork as to when he came to this realization, but I suspect that subtitling The Mystery of Time as “A Rock Opera” and not a “Metal Opera” was a quiet nod to anyone paying attention that there was no going back to the power metal days (also he has now released more albums in his hard rock/AOR/trad metal style than he has of classicist power metal). I say all that to set the stage for Ghostlights, an album that I’ve been considering ever since its announcement as a potential crossroads for Sammet —- the question being, does his success in compartmentalizing his projects carry over from Edguy to Avantasia and translate into masterful songwriting once again or was Space Police the last few drops from a well of inspiration that’s potentially run dry? I’m so relieved and happy to report that the bucket was plunged down the well and came up overflowing, and not only that, but in Ghostlights, Sammet has created his first front to finish classic since Mandrake.

This is an album brimming with confidence, full of vibrantly diverse songs with their own individual personalities, and loaded with shimmering, transcendent melodies and addictive hooks. It starts from the onset, with the Eurovision German preliminaries contending (!) lead single “Mystery of Blood Red Rose”, a Jim Steinman-esque vehicle meant for Meatloaf to actually guest on but as his management railroaded those plans, Sammet lays down lead vocals and delivers a worthy performance. As a pop-laden song it sees Sammet stretching his comfort zone a bit, weaving in Bat Out of Hell styled piano pastiche instead of relying on the semi Bon Jovi-ian vibe that so often laces his singles of this type. Sure they’ve used piano before, even on another Meatloaf-y number in “The Story Ain’t Over” in 2007, but here its delivered in runs of wild, loose glissando. It works well as an intro piece, setting a playful and fun tone for the album. Its on the epic thunderstorm of the following song “Let the Storm Descend Upon You” where we get our first guest vocalist spots with the returning Ronnie Atkins (Pretty Maids), the surprising Robert Mason (Warrant/ex-Lynch Mob) and of course the King of Kings himself, Jorn Lande. Mason is an inspired left field choice, and Atkins sounds far more comfortable here than he ever did on The Mystery of Time’s “Invoke the Machine”, and of course Jorn just makes everything better. This is the monstrous epic of the album, clocking in at over twelve minutes… and it took me awhile to realize that, perhaps the best compliment I can offer towards Sammet’s songwriting on this particular cut. Its so effortlessly packed with adrenaline-kicked riffs, smartly-paced lead vocal runs, and a diving-swinging-swooping theater of the dramatic —- its classic Avantasia.

 

Wacken Open Air 2008, Avantasia, Foto Axel Heyder

Speaking of guest vocalists, this is the area from where most of my skepticism towards this album came before hearing it, and its ultimately its most positive x-factor. One of my major criticisms of The Mystery of Time was just how mismatched the guest vocalists sounded with the songs given to them —- and I understand the argument that Sammet has to walk a fine line in balancing giving a guest singer a song that sounds too much like the band they’re known for, at the risk of losing the identity of Avantasia. I tend to reject that argument however for two reasons: The first being that its only all too natural for a listener acquainted with that guest singer’s primary band to hear shades of said band bleeding into their Avantasia role, especially considering they’ve been brought on board for their known voice after all. The bigger reason is that Sammet has proven himself to be capable of writing in such a distinctive voice that his songwriting tendencies are powerful enough to balance out even the strongest guest vocalists. On Ghostlights, Sammet has righted the ship in all respects, and my initial balking at seeing the names Dee Snider and Geoff Tate seems judgmental and foolish now (I believe I audibly scoffed at them on a past MSRcast episode). Snider is nigh unrecognizable to me, but that’s likely because I haven’t kept up with him musically over the years. He sounds terrific on “The Haunting”, with a leathery yet theatrical delivery on a slow burner of a song that recalls Alice Cooper’s guest spot on “The Toy Master” off The Scarecrow.

My surprise at Snider’s excellent performance was nothing compared to the alarm I felt at truly enjoying the much maligned Tate on “Seduction of Decay”, considering my initial bellyaching. I checked out a few interviews with Sammet in promotion for this album, he’s stated that the song came together first which then spurred the idea of bringing in Tate. Its a gutsy choice but you have to hand it to Sammet, it really does work, with this being Tate’s overall best vocal performance since some of his work on Queensryche’s Tribe album. And I’m a little proud of myself for setting aside all preconceived notions and feelings I had about him overall and allowing myself to be receptive to this song. Tate sounds particularly rejuvenated vocally here, perhaps due more to the higher quality of vocal melodies that Sammet has him working with, ones that make the best use of Tate’s distinctive phrasing. He even unleashes a bit of that forgotten upper register in a surprising show of force —- more proof that Tate needs a high caliber songwriter to get the best out of him (such as his former bandmate Chris DeGarmo). If Tate is the most vivid surprise among guest vocalists, then Herbie Langhans is the dark horse that snuck in under the radar. We’ve known that Langhans has some serious vocal power from his two albums in Sinbreed (and those of you who remember Seventh Avenue), but what he turns in here on “Draconian Love” is more akin to a subdued, smoother Ville Laihiala ala Sentenced. Its one of my favorite songs on the album, having a darkly romantic, almost gothic feel that’s a perfect foil for such a tremendously catchy chorus. Sammet starts off the refrain with his questioning shout “Where are you now, where are you now / Leaving me down here, lost in the waves”, and its delivery is perfectly satisfying, an unrolled welcome mat for Langhans to finish “You shed draconian love, you shed draconian love”. Its a case study in the art of successfully employing repetition and alliterative sequencing, the sort of thing Lady Gaga built her early hits upon (in other words, this is a ridiculously catchy song).

 

Likewise just as successful a song-to-vocalist pairing exists in Marco Hietala’s (Nightwish) “Master of the Pendulum”, where we’re treated to an aggressive, uptempo metallic bruiser. Hietala is another inspired choice, not the first guy you’d think of when pondering guests on a future Avantasia album either. He delivers one of my favorite moments on the album during the lines, “I lead the horse to the water and I make it drink / I‘m here to force precision just on everything”, which is about an accurate a characterization of his force of personality vocal delivery as I can imagine. Robert Mason crops up again on “Babylon Vampyres”, this time leaning more on his rock n’ roll delivery, a combination that matches well with Sammet’s lead vocal,  and talk about catchy, that chorus has not quit my head for the better part of a week. He’s also given a small but crucial part on the album closer / five-singer barrage in the delightfully sentimental “Wake Up to the Moon”, where he sings alongside a plethora of the album’s cast. Atkins has another role on “Unchain the Light”, where he gets to showcase his more rustic vocal texture, perhaps because he’s set in sharp contrast to the legend himself Michael Kiske. Its a satisfying song, with a unique sound palette that elevates it from being just another “rocker” and into something altogether more thoughtful and resonant. And I’ve long awaited the return of Sharon Den Adel to the Avantasia lineup, and she’s here in fine form on “Isle of Evermore”, not quite the dramatic, sharply angled power ballad that was “Farewell” from the first Metal Opera, but a beautiful song nonetheless —- one that’s written more in the style of her modern Within Temptation singing voice as opposed to her Mother Earth-era pop-classical approach. Its well placed in the tracklisting, a mid-album breather that is built around delicate keys, atmospherics and a subtly haunting refrain.

I don’t normally write song by song album reviews, but Ghostlights is a veritable treat bag of Halloween ear candy, lacking skippable tracks or anything bothersome. I’ll repeat that last part again —- nothing bothered me (me!)! And saving the best stuff for last, we have a trio of titanic tracks, not coincidentally involving Michael Kiske, Jorn Lande, and the immortal Bob Catley. First up is the truly remarkable “Ghostlights”, Kiske’s greatest singular Avantasia moment right alongside “Wastelands” from The Wicked Symphony, one of those speedy, Helloween-soaked gems that Sammet molds perfectly. Kiske is the kind of singer who needs a airport runaway length of rhythmic timing for his particular delivery, especially when you’re trying to get the most power metal styled delivery out of him. He’s not a rapid fire singer, instead allowing the music to outpace him while he steadily extends syllables and enunciation in his trademark smooth half singing half belting. He soars here, and Sammet and Jorn work around him smartly, ceding the spotlight to him and only coming in as counterpoints and fills. My favorite moment here actually involves Sammet on lead as the counterpoint to Kiske in the chorus, singing “thunder and rain and the wind in my face”, a line that is syncopated so perfectly, it brings a smile to my face every time I mentally (or audibly) sing along. Its a gem of a song, a joyous blast of power metal nostalgia that could’ve easily been on the Metal Operas. With that in mind, I marvel at Sammet’s personal success in bringing his hero, the once anti-metal Kiske, back to singing music like this and apparently enjoying it more than he ever has (to such a degree that it prompted the Kai Hansen reunion).

Jorn gets his star turn on the majestic, simply stunning “Lucifer”, a piano ballad turned power ballad that might be both he and Sammet’s finest moment working together. There’s a wonderful moment where Sammet and Jorn join voices together during the first iteration of the refrain, and its just spine-tingling in its effect. Dramatic in its confident, sturdy, string-laden build up, stirring in its lyrical beauty, this is a masterpiece and the first of two early bookmarks for potential songs of the year. And somehow, fittingly, its Mr. Bob Catley who guests on the album’s best song “A Restless Heart and Obsidian Skies”, a flawless diamond that’s in the conversation for the greatest Avantasia song of all time. Bold praise I know, but here’s the thing folks —- this song is the epitome of why you and I and everyone else listens to Avantasia. Its why we keep coming back album after album with an eagerness that we reserve for precious few other artists, because of the possibility of magical moments like this. Catley of course was the co-lead vocalist on “The Story Ain’t Over”, perhaps the greatest song to be released as a b-side in power metal history and one that the band ended up turning into a bit of a live favorite during their 2008 festival tour. Sammet just seems to be keyed into what kind of song Catley would sound spectacular on, one that features earnest vocals and heartbreaking lyrics that demonstrate a palpable sense of yearning. On “…Obsidian Skies”, he and Catley join in on a surging, insistent, wide-eyed chorus with a simply beautiful lyric, “Dark is the night, scarlet the moon / Sacred the light in the haze reflecting within / Blazing the trail… Be still my restless heart / Obsidian’s the sky / Inward you look as you halt / Be still restless heart / I’m on my way”. I could go on and on about this song but I’m sure I’ll be talking about it more later in the year on the best songs list, its simply magical.

 

I experienced something while listening to this album the other night as I drove around Houston under an uncommonly clear night sky. It stemmed from feelings of utter happiness at being able to appreciate what really did feel like…at the risk of overstating it, a gift —- an album that actually thrilled me beyond mere aesthetic appeal and typical reviewer think-speak of judging an album’s artistic merit. It took me a second to realize that I was being hit with blasts of nostalgia —- that the music I was hearing was taking me there. But nostalgia is a tricky thing, something that tends to come at us in notes of bittersweet (or at least for me), reminders of not only the passage of time but of no way to return. Yet the nostalgia Ghostlights was conjuring up was a little different, in fact, it was making me remember the feelings I’d have when I was a kid and I worried about nothing and loved everything. I have these memories of specific days from my childhood, scattered across those blurry years, where everything would go right and I’d feel genuinely happy or thrilled about the sequence of events. I don’t get many of those days anymore as an adult, and I suspect many of you feel the same. It was in the middle of “…Obsidian Skies” when I realized that I was into every second of this album, that everything about it was hitting me right in that sweet spot of everything I love about music in general. I can’t speak for anyone else, but this is an album I’m already treasuring for bringing me back to that mental headspace, and I’m grateful to Tobias Sammet for that. Its been a relief to write about Ghostlights without any qualifiers whatsoever —- I’ll say this plainly, this is a masterpiece for the ages.

December 16, 2014 2014, Anathema, Best of, Blog related, Edguy, Falconer, Folk Metal, Freedom Call, Insomnium, Jorn Lande, Online Metal Community, Power Metal, Sentenced, Tobias Sammet 8 Comments

The Metal Pigeon’s Best of 2014 // Part One: The Songs

Sometimes in the mid-December barrage of lists for the best albums of the year, the best songs released this year get ignored and forgotten. Of course its likely that a handful of said songs played a key role in their respective album winding up on a “best albums” list, but what about the really great songs on the not-so-great albums? As with the past few years, I’ve committed to giving songs in both of those categories a chance to get another look via an end of the year retrospective. What makes a song one of my best of the year? It could be anything from simply masterful songwriting, great lyricism, or even a courageous attempt at a stylistic shift or experiment (of course, it still has to be a great song). To force myself to make honest choices, I limit the list to ten, and the order of the list has as much to do with play counts as it does the more intangible qualities I listed above. Now to quote Monty Python to myself: “Get on with it!”

 

 

 

The Metal Pigeon’s Best Songs of 2014:

 

 

1. Insomnium – “Lose to Night” (from the album Shadows of a Dying Sun)

 

[youtube https://www.youtube.com/watch?v=vw81mcIhDt8?rel=0&w=560&h=315]

 

Its safe to say that Insomnium’s Shadows of a Dying Sun was my most anticipated album of 2014, and while it ultimately didn’t live up to the glorious heights of its predecessor One For Sorrow, it was still a very, very good album with some truly spectacular moments. The moment that stuck with me the most was the troubled ballad “Lose to Night”, and I’m going to do something I hardly ever do and quote what I wrote about it in my original review:

The untarnished gem on this album is “Lose to Night”, a song with an achingly beautiful chorus and note-perfect encapsulating verses. This is my most listened to song on an album that I must have spun at least a few dozen times by now, its the track that practically bleeds out the core musical identity of this band. Everything about it is perfect to me, from its tribal-esque intro drum patterns, to the circular guitar melodies within the verses where Sevanen growl-speaks about a litany of regrets, to Friman’s shining clean vocal performance in the chorus with that delicately hook laden vocal melody. I love that during said chorus, subtly buried in the mix is an electric guitar gently echoing Friman’s vocal melody beat for beat, along with Sevanen’s distant growls adding just the right touch of stormy intensity. I love that its a song about the decay of a relationship, but Friman’s prose is sparse and interpretative enough for it to apply to any circumstance —- the narrator could be speaking to his parents, or his sibling, or his past. I love that instead of associating a barren heart with romance, Friman dishes a curve ball by singing “No more fear in me / This heart’s stone inside”, while adding that “Every day must lose to night / Fade and die”. Perhaps I’m reading too much into this here but these strike me as very Finnish in their inherent nature —- slightly gloomy yes, but beautiful sentiments despite their despairing tone.

Insomnium, as well as a few other fellow Finnish metal artists seem to have a grasp on illustrating bleak, inner turmoil better than any other artist within the genre. It must be something about living there that does it, a result of their cultural identity and environment perhaps? I don’t know and I’d bet that they don’t either, but what is amazing to me is how their artistic interpretations can sound so vivid and true to people thousands of miles away in places that are quite unlike Finland (ahem, like Houston, Texas for starters). This is a haunting song, and that’s precisely what it has done to me —- I wouldn’t be able to shake it off if I tried.

 

 

2. Allen/Lande – “Lady of Winter” (from the album The Great Divide)

 

[youtube https://www.youtube.com/watch?v=3_OvrGEbMvo?rel=0&w=560&h=315]

 

Something just occured to me a second ago when considering this singular masterpiece on Allen/Lande’s newest album —- maybe I love this song so much because it reminds me of Dio. It should be him singing this song, or at the least this should be a time-worn Dio classic that Jorn Lande decided to cover. Like many, I miss the departed legendary vocalist and metal icon, and maybe its more that I miss his particularly distinctive stylistic choices. On “Lady of Winter” you’ll get a sense of what I mean when you hear Lande croon out the lyrics in the second verse: “Winter lady crystal tears /In the shadow drawing near / Will you show me all your fear?”. It was noted that Lande himself contributed to writing lyrics and vocal melodies for this album, and if he did so on “Lady of Winter” then its no mystery who he was channeling.

Whats more surprising however is that The Great Divide was penned by ex-Stratovarius guitarist Timo Tolkki as opposed to Magnus Karlsson who handled the previous three Allen/Lande albums. I can’t begin to remember the last time I enjoyed a Tolkki penned song, but kudos to him for keeping his extravagant tendencies in check and delivering one of the flat out greatest pure heavy metal songs I’ve heard in a long time. The album was okay, certainly passable, but “Lady of Winter” with its huge, monumentally towering chorus is the sort of gem that will be on my iPod for years to come. Its also the sort of metal song that I’m always afraid everyone will stop making one day, and so thankfully my fears are abated.

 

 

3. Falconer – “At the Jester’s Ball” (from the album Black Moon Rising)

 

[youtube https://www.youtube.com/watch?v=1rMhLO8JFPI?rel=0&w=560&h=315]

 

To understand just how truly masterful Falconer guitarist/songwriter Stephan Weinerhall and vocalist Mathias Blad truly are at their craft, take a listen to the chorus on this deep cut off 2014’s Black Moon Rising. Blad’s effortless clarion vocals skip and shuffle in a most waltz-like manner across Weinerhall’s ballroom imagery, “I am dancing in the waltz, come join in one and all” —- the song’s narrator a self-professed hypocritical, power-hungry misanthrope gleefully reveling in the chaos of corruption. Falconer leaned a little too much on aggression for Black Moon Rising to succeed as a whole, but there were a few moments when Weinerhall dialed back the heaviness to allow some songs to breathe —- the method in which their first four Blad-helmed albums were so excellently written. As on those albums, “At the Jester’s Ball” and “Halls and Chambers” were songs in which the melodies were placed well into the spotlight, and Blad was given ample room to let his voice blossom in its inimitably theatrical manner. This song makes the list not only because it was one of my most played in 2014, but because it gave me hope that Falconer hadn’t completely lost their mojo.

 

 

4. Sabaton – “No Bullets Fly” (from the album Heroes)

 

[youtube https://www.youtube.com/watch?v=uG2Snz9jkF8?rel=0&w=560&h=315]

 

This was not only the most musically riveting song on Sabaton’s surprisingly anti-war Heroes, but lyrically told a story that was emotionally bracing in its depiction of human decency bridging the divide between enemies. Its the story of Franz Stigler, an ace German fighter pilot one confirmed kill away from earning a Knights Cross, who chose to escort a crippled American B-17 back to friendly territory. Stigler had pulled level with the damaged aircraft and could actually see the wounded crew and pilot through the shredded airframe —- he was overcome with a wave of humanity that prevented him from carrying out his military imperative to destroy the plane. His presence prevented German batteries from firing upon it and once they were across the North Sea he offered the injured American pilot Charles Brown a salute and turned back. There’s quite a bit of information on the details of the story on the internet, and its worth reading up, but Sabaton’s musical treatment ratchets up the lump in throat quotient by incalculable amounts. The tempo itself emulates the lyrical depiction of two aircraft searing through the sky side by side, and Joakim Broden’s vocals are the perfect narrative device. You’ve gotta love the chorus, with its backing vocal shouted chants of ““Killing Machine!… B-17!”, they’re a strange juxtaposition when paired with Broden’s lead vocal singing ““Honor in the sky!… Flying Home!… Said goodbye to the Cross he deserved!”. The best part about this story? Stigler and Brown met forty-seven years later and became friends.

 

 

5. Edguy – “Alone In Myself” (from Space Police: Defenders of the Crown)

 

[youtube https://www.youtube.com/watch?v=zvmraiXxAyU?rel=0&w=560&h=315]

 

Tucked away in the middle of a pretty good yet admittedly inconsistent Edguy album was this glowing gem, a gospel-touched power ballad about loneliness and isolation written as only Tobias Sammet can. He’s proven throughout his career to be a tremendously gifted songwriter, and he’s one of the few power metal songwriters truly adept at writing emotional, stirring, and affecting ballads. As Edguy has leaned more in a rock direction in the past half a dozen years, he has adapted his once traditionally structured balladry to incorporate looser, more eighties-rock inspired musical elements. Here he expands his repertoire by including an almost 90s R&B meets soulful gospel motif in the song’s masterful chorus, juxtaposed against arena-rock ready verses built on Def Leppard Hysteria era pounding percussion and rhythmic guitar picking.

The mood created is one that has become something of a Sammet trademark by now, a song that’s simultaneously wistfully melancholic while still coming across as hopeful, and dare I say —- even inspirational. I’m a sucker for background vocals as many of you know, I find them to be delicious ear candy when done right and I love the decision here to approach them differently in the chorus. The choral sung “oooohs” in the refrain build up to one of Sammet’s most passionately sung turn of phrases in “No matter how hard I pray, I’m lost in translation”, while the organ-styled keyboards provide the underlying soundtrack to this unlikely church confessional.

 

 

6. Ghost Brigade – “Departures” (from the album IV – One With The Storm)

 

[youtube https://www.youtube.com/watch?v=Dph9H340_4c?rel=0&w=560&h=315]

 

My favorite moment on an incredible album, Ghost Brigade deliver one of the most urgent, passionate songs of the year with “Departures”. It treads similar territory to fellow Finnish bands like Insomnium, namely loss, regret, loneliness and despair —- but it done it in a way that is refreshingly unapologetic about its pop sensibility. This was the most accessible moment on a rather heavy, harsh vocal-fueled album, but it still has plenty of attack in its hook-laden passages. Consider vocalist Manne Ikonen’s performance as he alternates between tortured, guttural screaming vocals to add a touch of intensity to his distinctly plaintive rock inflected clean vocals. I’ve seen some people suggest that Ikonen gets close to yarling with his vocal choices here, but I’m unconvinced. There’s something deeper, darker, and less suggestive of affectation in his tone —- and truthfully I can’t imagine the song with another singer. The verses here are anchored by dirty bass and sharp percussion, and they lay down a framework upon which the band lets loose on the chorus with melancholic guitar figures over heavy, sustained riffs. At times I’m reminded of the kind of Finnish rock now championed by Amorphis, but created and perfected by the long-departed Sentenced. A perfect song for when you’re having a crappy day and need some empathy.

 

 

7. Freedom Call – “Follow Your Heart” (from the album Beyond)

 

[youtube https://www.youtube.com/watch?v=uu4TGlKrc1A?rel=0&w=560&h=315]

 

I was seriously thinking of nominating the title track of this album for this list, with its Blind Guardian-esque epic grandeur and gorgeous melody. Yet every time I considered Freedom Call’s surprisingly vibrant new album, I was reminded of this soaring, majestic paean to freewill and weathering the storms of life. This song brims with the kind of bouncy,kinetic energy so often found only in dance laden pop music, fueled by adrenaline surging backing vocal chants and wild Kai Hansen-inspired hard rock meets metal guitars. With Power Quest nothing but a memory at the moment, Freedom Call are perhaps the last men standing in this most marginalized of power metal strains —- that of ultra melodic, major key riddled, positive attitude infused “happy” power metal (its detractors know it by its given name “flower metal”). I apologize in advance, but once again I feel the need to quote myself,  this time regarding Freedom Call and their musical spirit:

“Whenever people accuse power metal bands of having only commercially minded interests, I’ll point out to them the careers of Freedom Call and Power Quest, who have eluded high chart positions, significant sales figures, and media attention —- ironic given their predilection towards writing undeniably catchy, ear wormy music. They’ve gone as long as they have with their too-commercial-its-noncommercial take on power metal for the sheer want of creating the music they want to hear, all while knowing and accepting that they are uncool and very unmarketable —- tell me, what is more metal than that?

 

 

8. Sonata Arctica – “Cloud Factory” (from the album Pariah’s Child)

 

[youtube https://www.youtube.com/watch?v=RO5FPHFI6sI?rel=0&w=560&h=315]

 

I have no delusions about this one, I know it will inspire some scrutiny and scoffing but let me explain. It could be argued that the best album released by Sonata Arctica this year was their re-recording of Ecliptica, and if you read my original review of Pariah’s Child you would think I’d feel the same. Time has changed my mind however and I now look upon that album with a little bit of fondness and understanding, largely felt by seeing them performing a few of it’s songs in an October concert here in Houston. It was seeing and hearing those select new songs that made me realize that what I perceived as strange choices in modern Sonata Arctica albums were actually an extension of frontman Tony Kakko’s own particular brand of humor and expression. His stage mannerisms helped to give “Cloud Factory” a sense of directional narration and it made me appreciate a complexity within its lyrics that I hadn’t noticed before.

That isn’t to say that I thought it was a dud beforehand —- its one of the best songs the band has delivered in years with its slightly Japanese sounding melody and wonderful mid-song bridge at the 2:42 mark (which is promptly followed by one of those aforementioned “strange choices”, yet it works in context of the lyrics). I strongly considered placing the major-key fueled, heart-string tugging sappy ballad “Love” on this list, but as brave as that song is in its boldly sung sentiment it didn’t have the musical complexity of “Cloud Factory”. But both songs are perfect amalgams that represent exactly who Kakko is as a songwriter: He’s the Rivers Cuomo of metal, a man so willing to present raw, open nerve endings through his unflinching delivery of lyrics many would consider too heart-on-sleeve, too emotionally naked. Both men are willing to intermix truth and fiction in their songwriting, and its that mask that hides the mirror.

 

 

9. Anathema – “Ariel” (from the album Distant Satellites)

 

[youtube https://www.youtube.com/watch?v=AjAHS4pNUY8?rel=0&w=560&h=315]

 

It would be disingenuous of any of us to begin to exclude new Anathema music from year end metal list consideration simply because of their stylistic shift towards modern progressive rock. Yes the vocals may be softer and sweeter, the melodies more gentle and hushed —- but the complexity and thought behind them has roots that extend far back into the band’s Peaceville three doom metal past. It would also just be plain wrong to ignore a song as singularly beautiful as “Ariel”, the highlight of their rather good Distant Satellites album. The band has been on a creative tear since their comeback in 2010, and they’ve seemed to find their milieu in soundscapes like this one, one of delicate piano and strings, and panoramic washes of screaming Porcupine Tree-esque guitars.

The echoing, soaring voices of Lee Douglas and Vincent Cavanagh are powerful enough to get solo turns each, but its when they join together for the song’s emotionally dizzying climax that they transcend genre and labels. Guitarist Daniel Cavanagh turns in the most inspired performance of his career during the song’s outro-solo; a wild, unrestrained moment of passion where its mirroring of the primary melody seems to continue the sentiments that both singers could not express. Anathema play with live emotional ammunition —- there’s nothing faked or phony here, certainly nothing that is subject to the shallowness of self-aware ironic detachment. That they’ve ceased to be a metal band sonically is arguable sure, but in spirit they’re still very much one of us.

 

 

10. Vintersorg – “Rymdens brinnande öar” (from the album Naturbål)

 

[youtube https://www.youtube.com/watch?v=Eg-iau4D52I?rel=0&w=560&h=315]

 

I mentioned in my original review for the latest Vintersorg album that his work isn’t the most accessible or instantly palatable. His albums take time and patience to sit through repeated listens before they begin to reveal themselves to you, and even then you have to be in the right head space to be receptive to it. Sounds daunting, and take it from a decade long disciple of his strange blend of avant-garde, folk-black metal —- it is. But occasionally Vintersorg will surprise even me with a blast of poppy goodness so catchy and memorable that it requires no time at all to enjoy. Case in point was this gem, a hummable duet with an enchanting female vocalist named Frida Eurenius that boasts a refrain so beautiful and breezily effortless that you wonder if Vintersorg could just potentially knock out songs like this all day and specifically chooses NOT to. I could see that happening, he has always been geared towards hyper-progressive ideas within his songwriting, a mad scientist that piles on layers of swirling sound and keyboard washes under furious black metal screams… even his distinctive clean vocals have been sung in Swedish since 2004, making them practically indecipherable for most of us. Take a moment to enjoy this brief respite from his madness then, and to revel in one of the most ear-pleasing choruses of the year.

 

November 9, 2014 2014, Avantasia, Edguy, Kamelot, Nightwish, Power Metal 2 Comments

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.

 

May 1, 2014 2014, Edguy, Tobias Sammet 10 Comments

Edguy’s Space Police: Does Tobias Sammet Rebound?

Edguy_Space-Police-300x300_zps0f723504If you’ve kept up with the blog over the past few years, you’ll know that I’m a pretty big Tobias Sammet fan. Yet my unabashed fandom has not prevented me from listening with a critical ear to his songwriting in both Avantasia and Edguy, and in doing so I’ve begun to notice a certain track that his recent works have been taking. There was a noticeable decline with Edguy’s Age of the Joker and last year’s Avantasia offering, The Mystery of Time, and it could be argued that the seeds of this decline for Edguy in particular began with 2008’s Tinnitus Sanctus. That in itself I find rather revealing, because 2008 also ushered in the release of the first Avantasia album in the largely brilliant Scarecrow trilogy —- which suggests that it marked the start of an era in which Sammet began to reserve his best material for the Avantasia records, by default giving Edguy second priority. Sammet himself would balk at that very suggestion and has gone on record stating that the songwriting periods for both projects do not intersect. Hey I’m a fan of the guy, I’ll take him at his word, but I will argue that its fair to suggest that his main musical priority had shifted to Avantasia within the past six years. Its in the math guys: since 2008 —- four Avantasia albums to three for Edguy.

 

I understood the importance of the Avantasia project to Sammet, and since he was delivering great records I was perfectly willing to tolerate a slight quality hit on the Edguy stuff, which weren’t bad albums by any means (there were a few gems on those records). But when The Mystery of Time happened, I began to see that there was a possibility of the well running dry in terms of Sammet’s seemingly endless capacity for penning excellent songs. It falls then to the newest Edguy release, the typically tongue-in-cheek titled Space Police: Defenders of the Crown, to show that Sammet has rebounded from the songwriting lethargy that has plagued his two most recent releases, and more importantly —- to bring some measure of importance and individuality back to the name Edguy. He can accomplish the former by of course delivering some truly knockout songs, but achieving the latter is a far more ambiguous task —- after all, a side effect of Sammet being the sole songwriter for both bands is that they have begun to blend together in styles. When Edguy records started showing noticeable hard rock influences, Avantasia records followed suit —- so it begs the question: What is Edguy anymore?

 

The answer appears to be right in front of our faces. Pick up your copy of Space Police and take a long gander at that ludicrous album cover. For the record, I do enjoy the artwork, but that image of a 70’s motorcycle cop pastiche holding an alien (in the most awkward way possible) is the codex that we can use to decipher how Sammet now permanently perceives his work in Edguy. There was a long period of time dating back to the band’s inception when Edguy wrote serious albums about relatively serious subjects. However levity and comic relief became a subtle tradition within Edguy albums dating back to 2000’s mostly dark and serious Mandrake, where a track called “Save Us Now” comic-riffed on drummer Felix Bohnke’s nickname of “Alien Drum Bunny”. Since then we’ve gotten songs about morning wood, self-referential ideas about superheroes, a fantasy of joining the mile high club as a way to deal with flight anxiety,  and of course a bonus track about the life and times of… a bonus track. I’m barely scratching the surface here, and I’m marveling at my own obtuseness in not realizing that Sammet has rather conspicuously separated the veins of his songwriting approach into his two ongoing projects. Since 2006, Avantasia would receive (and monopolize) the far more serious, artistic vein, while Edguy’s increasing blendings of hard rock with traditional power metal served as a perfect soundtrack in which Sammet could further indulge his wacky, silly, Scorpions-inspired vein.

 

edguy-400x300_zps6e8bd9a9These are permanent changes, and I suspect that Sammet realizes this, but I’m not sure that most of his fans have. If you’re one of the few that can accept the compartmentalizing of his songwriting career, then you’ll be able to accept Space Police for what it is —- namely, the strongest Edguy record of the past eight years. Sammet has successfully shaken off the dust of his past two recordings and delivers some pretty great songs, the most apparent of these being the title track itself. With its tension building, slow-burning verses and propulsive prog-pop chorus, Sammet has penned one of his best Edguy songs to date. Its subject matter is ironic in that its poking fun at fans, or critics (or in my case, one and the same) that tend to demand that the band stick to a particular set of stylistic rules or structures —- all while featuring some of the silliest voice effects on any Edguy song ever (remember the “sung” guitar solo from years ago… its back in a weird way). There’s also the standout single, “Love Tyger”, one of Sammet’s catchiest songs ever, with its “La-La-La-La-Love Tiiiger” refrain becoming perma-stuck in my head for the better part of two weeks now. I love the backing vocals on this tune, with its complementing mix of male and female vocals in what is by now becoming a Sammet trademark, they add a lushness to the sound that is supremely enjoyable. Another gem is the unconventional power ballad “Alone In Myself”, where Sammet trades the usual dramatic build up and Slash-esque guitar solos for an almost soul-influenced lead vocal backed up by some fantastic gospel tinged choir vocals during the refrain. I’m pretty big on Sammet’s ballads, I think he’s one of the best at penning them genre wide, and I love that he’s finding new ways to explore this particular avenue in his songwriting. What an astounding song.

 

With those three tracks as the pinnacle of a pretty strong album, I’m left wondering why the band (or perhaps more accurately, Nuclear Blast) decided upon “Sabre & Torch” as the lead-off single. Its not a bad song, but its nothing spectacular either (its very construction reminds me of the similarly underwhelming “Ministry of Saints” from Tinnitus Sanctus), its appeal is all but extinguished after a couple spins and I have no real desire to hear it again. I was more than impressed with the guts it took to release “Sleepwalking” as the first single and video of the last Avantasia album, so why go the safe route with Edguy (which is ostensibly a far less conservative project)? I can only assume that its an overt play towards metal fans en masse as opposed to only Edguy/Sammet fans, who I believe would’ve been far more impressed even with the crudely titled “Do Me Like A Caveman”, which for its utterly throwaway title does sport a rather focused, serious sonic palette and a truly vibrant chorus. Likewise goes for “The Realms of Baba Yaga”, where a pretty good groove and some solid riffs help in distracting you from the vagueness of the lyrics (my stab in the dark at them is that its a very Iron Maiden-y “Number of the Beast” type of motif, except with a figure from Slavic myth instead of pitchforked devils). But credit where credit’s due, all parties involved were wise in keeping the Falco “Rock Me Amadeus” cover buried as a deep album cut, right in the middle of the tracklisting in fact. Its placement is well chosen, its execution is amusing and truly evocative of the spirit of the original, and as far as covers go, its an imaginative choice.

 

 

tobiassammet_zpsa1237831Filling out the rest of the record are some solid album cuts; “Defenders of the Crown”, the second half title track has a chorus that is slightly lacking, yet the rest of the song is packed with enough interesting musicality to make it worth many repeat listens. Same goes for “Shadow Eaters”, an uptempo mix of power and trad metal elements with a pummeling double bass furor throughout, its easily the heaviest track on the record (you know… if that’s the kind of thing you enjoy hearing about). The closing track “The Eternal Wayfarer” attempts to be the epic of the record, with its just under nine minutes in length, but it comes up short of meeting the criteria to be placed alongside past Edguy epic-length classics. Not for lack of trying however, because I should mention that the song is near spectacular from 5:03 to 7:00, where an extremely well written extended bridge features the kind of swirling lead vocal layering that we haven’t heard since the classic title track from Theater of Salvation, a blast of nostalgia that is tastefully done and just plain fun to hear! So there you have it, no real clunkers, and a handful of gems, I’d call that a pretty good outing for Sammet and a rebound for him in the quality department. I’ve noticed I haven’t mentioned any of the other band member’s performances, and that’s not meant to be a snub, as those guys do their job really well and sound great as always. This is a band that lives and dies on the songwriting skills of Sammet, and until they decide to get involved in that realm themselves, it will always be that way.

 

So its worth reiterating once again, Edguy is Sammet’s lighthearted rock n’ roll playground, and fans should start getting used to this being the way things will always be. The days of serious Edguy records are long over, since 2006 it seems —- so you’d figure we’d all be accepting of this by now, except one of the more unfortunate traits of metal fans of all stripes is an unwillingness to accept change. Check out the YouTube comments for any of these new songs, and you’ll find someone bemoaning the fact that the band has abandoned their classic style and gotten silly. But maybe they’re responding to the hard rock and trad metal influences, which are slowly taking over the sound of a majority of veteran power metal bands. I do feel that power metal is in need of another round of classicism, a re-appropriation of the sound that once defined a generation of bands in the nineties. When Silent Force’s new album sounds closer to Whitesnake than classic Helloween, you know that the state of the genre is in considerable flux. But when it comes to Sammet, I think he’s far removed from the rigidity of the classic style/sound that many of his fans crave (the biggest hint was his subtitling the last Avantasia record “A Rock Epic”, as opposed to “The Metal Opera”). The best that you can hope for as a listener and fan is to find something redeeming about his songwriting on every new release, and thankfully he’s never let me down in that regard.

December 16, 2013 2013, Amorphis, Black Metal, Blind Guardian, Blog related, Edguy, Falkenbach, Fenriz, Folk Metal, Insomnium, Lord, Melo-Death, Omnium Gatherum, Orphaned Land, Power Metal, Queensryche, Roy Khan, Sentenced, Serenity, Todd La Torre, Tyr 7 Comments

The Metal Pigeon’s Best of 2013 // Part One: The Songs

And farewell to another year that’s flown by too quickly. Of course that means its time for anyone and everyone in metal writing, print or digital, to indulge their egos a bit and draft up their end of year lists. Now most writers will never own up to it but I’m a rather shameless sort, and will freely admit that I love creating these lists. I put an inordinate amount of thought into drafting them and end up changing around the entries and numerical ordering countless times before I ever hit publish. Self-indulgent? Absolutely. But I also hope that people who in anyway remotely enjoy reading what I write will check out my lists as a way to get into bands or albums they’ve not heard before. That’s ultimately the most rewarding aspect of writing about music, expressing your enthusiasm and passion for something to others and hoping they’ll hear what you hear.

 

As you can see from the title, to make everything more readable, I’m separating the best songs and albums of 2013 into separate articles (the albums list is on it’s way soon). Of course, some bands will overlap on both lists, with undeniable crowning jewels from great records being represented, but doing this separate list for just songs alone allows for a spotlight to be shined on those songs that were gems on releases that may not have necessarily made the best albums of the year cut. Anyway to quote Marti DeBergi, “Enough of my yakking”!

 

 

 

 

The Metal Pigeon’s Best Songs of 2013:

 

1. Darkthrone – “Leave No Cross Unturned” (from the album The Underground Resistance)

 

[youtube=http://www.youtube.com/watch?v=b0tsFqTulM8&w=560&h=315]

 

 

The extent to which this song towered over the rest of the tracks from Darkthrone’s excellent The Underground Resistance is such that whenever I think upon that album, the monstrous, cyclonic riff that anchors this battleship of a song is the ONLY thing that comes to mind. This song, more than any other released this year by anyone else epitomizes to me the pure, untarnished, unapologetic, hell bent for leather spirit of metal as I know it and have grown up loving. Its not just the King Diamond-esque vocals from Fenriz that encompass so much of this thirteen minute long epic, or the brutal series of incredible, bone shaking riffs one after another courtesy of Nocturno Culto seemingly on a mission to destroy, or the slammingly heavy midsection bridge at 4:24 —- its everything all together. I contend, with some expectation of hatred at the very idea, that this is Darkthrone’s heaviest song to date.

 

Its typical of Darthrone’s contrary spirit then that this song could only come now, many albums past Darkthrone’s turning of their backs on the traditional black metal sound. They’ve also moved on past the crust punk/black n’ roll they dabbled in for some years and have seemingly embraced traditional heavy metal. Gone too are the murky, muddled productions of past albums, replaced here by a crispness and clarity never before heard with Darkthrone music. There are some out there that speculate that these guys are taking the piss, purposefully trolling the black metal fans with their current musical incarnation. I reject those notions out of hand not only because the band have come across as rather earnest about their current direction in interviews, but simply because music that sounds this genuinely in love with heavy metal in all its ugly glory doesn’t know the meaning of irony.

 

 


2. Amorphis – “Hopeless Days” (from the album Circle)

 

[youtube=http://www.youtube.com/watch?v=gdKt1aw4BK8&w=560&h=315]

 

The shining gem on Amorphis’ 2013 effort, “Hopeless Days” is everything you’d want in a song built in this particular style of depressive, melancholic metallic hard rock. There were quite a few good songs on that record, but none as powerful and churning with dramatic ache as this one. Powerful percussion ushers you along over a bed of building riffs that explode in a supremely catchy chorus all whilst elegantly tinkling piano plays underneath —- a subtle yet brilliant juxtaposition. Vocalist Tomi Joutsen delivers his best vocal and lyric during this emotionally stirring moment: “I was born a captive / A captive of the night / In between / Hopeless days”.  Gotta love the scale climbing guitar lines that kick in during and after the solo —- Esa Holopainen might just be the most underrated guitarist coming out of Finland right now. When Sentenced called it a day in 2005, I was worried that my supply of this type of rock inflected metal would dry up, but there seems to be a strong contingent of bands working in the same medium, Amorphis amongst the best of them. My iTunes count says I’ve played this song alone 79 times while the rest of the album’s songs sit at 30-40 (sometimes I wonder if the iTunes play counts of writers from taste maker websites would really back up their best metal of the year lists). Play count 80 starting…NOW!

 

 

3. Orphaned Land – “All Is One” / “Brother” (from the album All Is One)

 

[youtube=http://www.youtube.com/watch?v=Bds3FALcR7M&w=280&h=225] [youtube=http://www.youtube.com/watch?v=qsPb1-uPIic&w=280&h=225]

 

How can two songs take one spot? Because they are to me inseparable, both in my mind as representations of my favorite moments on Orphaned Land’s surprisingly great All Is One album, and as micro representations of the core of the band’s progression through simplification both musically and lyrically. With the title track serving as both the lead off single and first song on the album track listing proper, Orphaned Land in four minutes and thirty seconds crafted a brilliant, euphoria inducing epic that perfectly encompassed their spiritual ideology (agree or disagree with it). What makes the song truly effective however are not just the direct, declarative lyrics, or the artfully done Middle Eastern instrumentation —- but the band’s embrace of clear, anthemic melodies and hair raising choral vocals ala Blind Guardian during the chorus. The infusion of that particular kind of power metal element is new for the band, as is their shift to a leaner, more direct method of songwriting, a complete 180 from the complex progressive metal of their last two records.

 

These newly embraced principles work to possibly greater effect on “Brother”, where singer Kobi Farhi’s inspired lyrics threaten to overshadow some truly great music going on underneath. The lyrics, as widely discussed by now, are intended to be the words of Issac to his brother Ishmael. Its a gutsy song for an Israeli to write, let alone record and perform on stage, as it’s lyrics essentially serve as an extended metaphor of the relationship between Jews and Muslims, brother faiths of the same Abrahamic father. Its a heavyweight topic to tackle but here its done with elegance, subtle apologetic notes, and a passionate vocal courtesy of Farhi that registers as the album’s highlight moment. The beautiful guitar interplay of Yossi Sassi and Chen Balbus that is to be found all throughout this album is the band’s best to date, particularly during the instrumental section where the guitars kick into an almost Slash-esque mellow solo. The band delivered an incredible one-two punch with both of these songs, and managed to wrangle an old fan like me back into the fold.

 

 

4. Serenity – “Wings of Madness” (from the album War of Ages)

 

[youtube=http://www.youtube.com/watch?v=vX5jsf3v9vw&w=560&h=315]

 

Serenity stunned me this year with their spectacular War of Ages album, and this inspired lead off track (and first single) was the highest among many high points to be found on the set.  “Wings of Madness” is a complex, multifaceted masterpiece that twists and turns around the dramatic vocal duets of co-vocalists Georg Neuhauser and Clementine Delauney. The latter is the newest member of the band and the undeniable star on this particular song (and perhaps the entire album), her vocals equipped with both a light ethereal touch and a dark, rich, almost Lisa Gerrard-like quality that she can blend together at will. The song’s music video seems to suggest that the lyrics are about the infamous Countess Bathory and her blood bathing lifestyle (everyone’s got their thing). This is a band that directs its lyrical bent towards characterizations or accounts of historical figures, and as such, the quatrain in the chorus is unnervingly eerie and appropriate: “No sun is shining in your eyes / A shadow growing in disguise / I can’t stand the silence / Embracing you at night”. One of the many things I appreciate about Serenity is their commitment to a higher standard of lyricism than the power metal norm —- similar to what Roy Khan was instilling during his tenure in Kamelot.

 

 

5. Queensryche – “In This Light” (from the album Queensryche)

 

[youtube=http://www.youtube.com/watch?v=8LGaEOP86Kc&w=560&h=315]

 

That Queensryche was able to find a viable, credible future sans Geoff Tate was in itself a remarkable feat, but their creation of an album that is worthy enough to stand alongside their first six bonafide classics is still mind-boggling. This year’s self-titled comeback record was full of the classic elements long missed from Queensryche releases, and the band found that new members like guitarist Parker Lundgren and of course, life-saver vocalist Todd LaTorre could contribute to the songwriting process from the word go. Truthfully speaking, while I enjoyed the album, I had to admit it did have an array of weaknesses mostly stemming from the album’s length, and some songs that could’ve used a few more minutes. “In This Light” however stands out as a pristine moment, a deftly penned stately rocker with a chorus that could’ve come from the band’s Empire era. I mentioned in my original review for the album that this song was “a sort of distant cousin to “Another Rainy Night” and “One and Only”. Its perhaps the most accessible song on the record, yet also the most thoughtful, its lyrics a reflective paean on despair and hope.” Its curious to me that they haven’t released this as a single yet.

 

 

6. Omnium Gatherum – “The Unknowing” (from the album Beyond)

 

[youtube=http://www.youtube.com/watch?v=RsjHvaU5Aik&w=560&h=315]

 

These guys released a pretty solid record earlier this year with Beyond, but the highlight of the album was this singular gem, an arpeggio fueled, cinematic slice of melodic death metal nirvana. Not only is the guitar work stunning throughout in a general breathtaking sense, but they buoy a melody that is strangely melancholic and uplifting at the same time. Vocalist Jukka Pelkonen’s vocals here feature an extra degree of crisp clarity that is normally buried in his obsidian delivery (an acquired taste I admit). The Finns really have something going on right now with the amazing slate of fresh takes on melodic death metal that is very far removed from the now old-school Gothenburg scene in neighboring Sweden. Insomnium also released a fantastic new song this year that I reviewed earlier which will narrowly miss a placement on this list —- but its just more mounting evidence that both these promising torch bearers of modern melodic death metal have found a way to distance themselves from the negative associations that the original melo-death sound has unfortunately found with American metalcore.

 

 

7.  Týr – “The Lay of Our Love” (from the album Valkyrja)

 

[youtube=http://www.youtube.com/watch?v=9zd2rYcxXBM&w=560&h=315]

 

This was a bold, gutsy move for  Týr, a band whose previous attempts at anything close to balladry were blanketed by singing in their native Faroese language, about subject matter that was really anyone’s guess.  But Valkyrja is a thematic album about the role of the woman as Goddess and wife, in the life of a Viking warrior —- and to the band’s credit they are lyrically adventurous about it throughout. Not only are the lyrics in “The Lay of Our Love” essentially about a rather sentimental subject, in this case a pair of lovers sundered by impending death, but the music at work here is pure power balladry (I mean that in a good way!). I’m not sure whats my favorite part, the delicately plucked acoustic intro or the wild, passionate guitar solo mid-way through that ranks amongst the band’s best. Liv Kristine of Leaves Eyes fame is the lithe, delicate female voice you’re hearing, and her performance here is just immense. Its a shame that I seem to only be able to really appreciate her work when its in guest spots like these, but she contrasts well with Heri Joensen’s deep, soaring vocals.  Týr should continue being brave with experiments like these if the payoffs are anything close to this.

 

 

8. Avantasia – “Saviour in the Clockwork” (from the album The Mystery of Time)

 

[youtube=http://www.youtube.com/watch?v=USkP6pT8UYI&w=560&h=315]

 

I pointed out in my review for Avantasia’s most recent album that in the past half decade Tobias Sammet has now released nearly double the amount of Avantasia releases in comparison to his main band Edguy. At some point, both of the projects were going to start blurring together stylistically due to having the same songwriter driving each, and as expected that is exactly what is happening with both of the newest Avantasia and Edguy releases. They’re still good albums, but at this point the only musical difference between both bands is the presence of guest vocalists in Avantasia, and you’ve gotta wonder if that will be enough in the long run. Of course, if you’re like me and just consider yourself more of a Tobias Sammet fan than a distinct fan of either one of his bands then you won’t really care all that much about such details as long as he keeps delivering the goods. Well, the bad news was that The Mystery of Time is the most uneven album in Avantasia’s now vast discography. The good news is that it did contain a handful of distinctive Sammet homeruns, including this awe-inspiring epic featuring vocals from Joe Lynn Turner, Biff Byford, and of course Michael Kiske. Its got all the elements a Sammet fan wants: thundering bombast, excellent songwriting, and lush vocal arrangements particularly in the group choir vocals during the chorus.

 

 

9. Falkenbach – “Eweroun” (from the album Asa)

 

[youtube=http://www.youtube.com/watch?v=mA5nN65B_eg&w=560&h=315]

 

I consider it a good quality that this song conjures up the feeling of sitting by some intense campfire under the stars at midnight (… ah lets face it, I’m really thinking of Skyrim). Gone are the murky, lo-fi productions of past albums —- 2013 Falkenbach has taken a page from Darkthrone’s playbook: Sometimes the way to progress your sound forward is to fully capture it in a pristine form, not hide it under layers of hiss and microphones. Sole member and creator Vratyas Vakyas’s vocals are the selling point on “Eweroun” (translated as “Evermore”), his plaintive, spacious clean vocals ushering in the song with a vocal melody I can only describe as soothing. He sets this over a bed of warm muted riffing, simple percussion patterns, and chiming acoustic guitars. The hook is not a traditional chorus either, but simply an altered acoustic guitar figure. Vakyas apparently pens most of his lyrics in old Norse, and a look at the translation of the lyrics seems to suggest an allusion to the passage of time set against the backdrop of changing seasons. It all conjures up a rather spiritual feel, and its not much of a stretch to actually call it something close to spiritual folk metal.

 

 

10. Lord – “Digital Lies” (from the album Digital Lies)

 

[youtube=http://www.youtube.com/watch?v=UR38tX6z6iI&w=560&h=315]

 

You may not have heard of Lord before, but many of you might remember Dungeon from Australia, the rather underrated power/trad metal band who in addition to building up a solid catalog of quality albums over the span of a decade  also provided us with one of metal’s great covers in their take on Toto’s “Hold the Line”. Lord then is ex-Dungeon vocalist Tim Grose’s project born out of the ashes of his former band. They launched in 2003 and have done a few decent records now, but their 2013 release Digital Lies shows the band taking determined strides towards potential greatness. This title track from the effort is one jewel among many featured on the release that crackles with the kind of excitement that is harder and harder to find with newer power metal releases (and worryingly so at that). Over a rock steady bed of aggressive, pulsing bass and pounding riffs is a striking contrast between almost Alexi Laiho-ish vocals in the verse, and Grose’s wide open, soaring tenor in the chorus. He’s always been an excellent vocalist, displaying a heft and weight to power metal vocal delivery that is so often found lacking amongst the European ranks —- but his ability to switch it up here at will is even more impressive. Check out this song, and if you like it do yourself the favor of grabbing the album, its one of the better power metal records released this year.

 

April 15, 2013 2013, Amanda Somerville, Edguy, Power Metal 1 Comment

Avantasia’s The Mystery of Time: Sonic Ambivalence

Since I’m going to be talking about Tobias Sammet and Avantasia, I’ll point out that this isn’t a conventional review in the sense that I’m trying to help you decide whether or not to check this album out — because of course you should. Sammet possesses a nearly peerless songwriting ability within the power metal/hard rock spectrum, and with said ability has delivered a career’s worth of superb work through Edguy and of course his solo/all-star project Avantasia. Every Sammet penned album can be guaranteed to contain a small to large handful of gems, and for that fact alone I believe he is worthy of respect and yes even gratitude. Speaking as a power metal fan, that level of consistency is a rare beast in a genre too often full of talented musicians who can’t write a decent tune. I became a fan of the man back in 2000 with Edguy’s seminal classic Mandrake, and both retrospectively and with each new release, Sammet continued to fill the soundtrack of my life with thundering, grandiose power metal epics and emotive, stirring ballads. Few others in power metal deliver the goods as well as he does. So as expected, there’s a lot on my mind regarding this record, and to better help myself keep all my thoughts in order I’ll be breaking this down into categorized, bite-sized chunks:

 

The Good:

 

Stylistic commitment:

When it comes to the music on offer here, Sammet sticks with what his overall approach has developed into, which is a broadly scoped fusion of anthemic hard rock mixed with traditional power metal. I’m going to cautiously say that this was a good call. There are probably quite a handful of fans that would prefer to see a full on return to the quasi-neoclassical sound of The Metal Operas, and while I understand those wishes, I also appreciate that asking an artist to conjure up new music in a style and head space that he is over ten years removed from is simply unrealistic. While The Scarecrow Trilogy did feature some wonderfully decadent orchestral keyboard laden tracks, Sammet relied far more on unadorned hard rock — and that was a line crosser for many fans at the time, who felt that the name Avantasia should conjure up music that was entirely regal, and Euro-centric-ally classical.  That being said, there does seem to be a knowing glance to The Metal Opera past that arrives in the presence of the German Film Orchestra Babelsberg on the album from front to back. The orchestra’s impact is felt throughout, providing an expansive bed of sound for even the more rock than metal cuts, giving them an appropriately epic feel.

 

 

Some really great songs:

But far more than the details of styles and sounds, its songwriting that matters the most to me, and Sammet digs up a couple of inarguable gems. The most obvious of these is the album standout “Savior in the Clockwork”, a surging ten minute monster with a chill inducing epic chorus that contains perhaps my favorite Sammet characteristic as of late: Goddamned awesome choir background vocals. They give what is already a great chorus that extra airtime with this huge soaring uplift — its pure ear candy and has been a prominent songwriting/production element in the past few Avantasia/Edguy albums. There’s a small but well known handful of vocalists that make up this choir, including the immensely likable Amanda Somerville, and quite frankly they should be talked about more in other reviews I’ve seen.

 

The award for most Avantasia-ian song goes to the truly exciting “Dweller in a Dream”, which harkens back to the classic pure symphonic metal style so vividly that you could probably slip it onto a burned copy of the first Metal Opera record and a newbie wouldn’t know it was a from another album. Maybe its the way Michael Kiske’s vocals finish Sammet’s refrain during the chorus, but I got flashbacks of 2000 — anyone else? And I’ll go ahead and blaspheme here (to some people), by saying that “Sleepwalking”, the most startlingly overt pop song Sammet has ever penned actually works surprisingly well; a semi-power ballad with a yearning, cinematic chorus that soars to those same dizzying heights that characterize so many of his past ballads. Producer/guitarist Sascha Paeth makes a wonderful contribution here with an elegantly simple guitar solo that softly echoes the primary melody and evokes a beautiful sentimentality.

 

 

Eric Martin / No lame interludes!:

And speaking of ballads, Sammet’s best decision on this album is to utilize Eric Martin’s seemingly ageless voice for the actual ballad, a classic piano and strings laden slow dance with a strong, emotionally stirring refrain and lush backing vocal arrangement. Martin’s voice is rich, suitably sandpapery, and inflected with just a touch of country that only enhances the heart wrenching qualities of Sammet’s composition by grounding it in an American southern earthiness.

 

Bonus points go to Sammet for good decision making on avoiding a concept album cliche of small non-song intervals, few bands can do them well and Sammet has had a sketchy record in the past when he’s tried it (the utterly obnoxious “Lucifer in Love” anyone?). To his credit he’s done a great job keeping that nonsense out of his past seven records, and I’ve noticed fewer and fewer bands doing it as well (hopefully this becomes a full fledged trend).

 

 

The Not So Good

 

Woeful filler and lyrics:

There are a couple songs that simply fall flat unfortunately, the first that comes to mind is the absolutely uninspired “The Watchmaker’s Dream”, which might just have one of the most boring choruses I’ve heard in years. Joe Lynn Turner is the guest vocalist on it, and while he’s a good singer, he comes off as rather indistinguishable here (more on that later), whereas someone with a bit more character in his voice could have possibly salvaged the track by making it their own. I could have lived without the other Kiske track on offer, “Where Clock Hands Freeze”, a total 180° from the excellent “Dwellers In a Dream”. Its this album’s version of the classic Helloween-inspired power metal speedster, and frankly its weak. Sammet has previously delivered the goods on these types of attempts on the past few albums, so its disconcerting to see him drop the ball here with Kiske — whats up with that? I could also have done without the quiet, orchestra only parts in “The Great Mystery”, which interrupt the flow of what is really a fantastic series of mini-songs folded into one long epic piece. Sammet included vague meandering orchestral parts on the title track for “The Scarecrow” album, and it struck me as lazy then as it does now — surely he can come up with a creative musical or lyrical bridge to serve as a connector for two disparate sections of a song. In other words cut it out with the faux atmospherics and stop boring us. You’re better than that Tobi.

 

 

I’ve always admired great lyricists in metal and elsewhere, and I feel that I’ve been rather patient and forgiving for the typicality of mediocre lyrics that permeate so much of metal. Power metal is unfortunately guilty of harboring some horrendous lyrical massacres, and my love of the overwhelming enjoyability of the genre has forced me to simply accept it as the norm. Sammet isn’t the worst lyricist in power metal — far, far from it — he often writes about interesting subject matter and has a particular English as a second language way with a phrase that is endearing. But I wouldn’t go out of my way to call him a good lyricist either; he overuses words, phrases, and imagery often, he relies on abstraction to a fault, and his tendency to use malapropisms is simply maddening. I let a lot of that go… especially when it comes to lyricists who aren’t writing in their native tongue, but sometimes I wish they’d make use of a proofreader every once in awhile.

 

So in the rather heavy, and aggressive “Invoke the Machine”, we get Ronnie Atkins trying to manfully bark out this travesty of a phrase: “Don’t you see what you are meant to be / Outside your cloud-cuckoo-land”. It almost, ALMOST… ruins the song for me. Maybe its just me but dammit that’s just embarrassingly bad — “cloud-cuckoo-land”? What is this, a Teletubbies album? What in the hell is that supposed to mean anyway?

 

The guest vocalist line-up:

No ones said it, but surely some have to be thinking it: This album would’ve been far better with different vocalists. This has to be the most ambivalence-inducing guest cast for an Avantasia album ever. And I know that it was going to be hard to top the absolutely stellar array of vocalists Sammet assembled for The Scarecrow Trilogy, so I do applaud his efforts in trying to diversify this lineup from previous casts. As I mentioned before, Eric Martin is a great choice, and I dig Ronnie Atkins and Bob Catley’s contributions as well. But Biff Byford, Joe Lynn Turner, Cloudy Yang, and to some extent Kiske himself were really uninspired choices here.

 

I include Kiske because his vocals only work if he’s getting exceptional songs, as he has on past efforts. And while I loved “Sleepwalking”, surely Amanda Somerville would have been a far better choice than Yang — who while not bad, suffers from awkward phrasing, spotty enunciation, and an all around weird approach to vocals… is she trying to be R&B, pop, rock, or none of the above? Hell if I know! As for Byford — I’ve never been a big fan and I can’t help but think when listening to his feature track here, “Black Orchid”, how much better it’d sound if Jorn was on vocals instead.

 

And while I realize that the guest vocalists on Avantasia albums are for the most part reflections of Sammet’s musical inspirations and interests, he has proven that he could stretch out before to spectacular results such as nabbing Roy Khan, or even Hansi Kursch himself on an old Edguy record. There’s a load of great talent out there, and maybe next time Sammet should set his sights wider to scope out some of the great contemporary vocalists out there in rock and metal that perhaps aren’t the traditional favorites (though no one would object to Bruce Dickinson… seriously how has that not happened yet?). I’m veering close into straight up nitpicking territory here I know, but this was the first time that an Avantasia guest list didn’t excite me (Martin being an exception), and I think that its been a bit of a damp towel on my enthusiasm for the album.

 

 

The Takeaway

 

Despite initially looking forward to The Mystery of Time, I’ll confess that I was surprised that a new record was even in the works. Sammet all but put the project to bed after the 2010 mini-tour, citing that he felt he had done all he could under the Avantasia banner. So why the sudden change? Especially when its pretty much been a known certainty that his main band Edguy has indeed suffered in wake of the post-2006 resurgence of Avantasia. Look, like I said earlier, all his albums have their share of excellent moments, and the past few Edguy albums have been no exception. But I can’t honestly sit here and say that The Age of the Joker, Tinnitus Sanctus, and Rocket Ride can compare to earlier Edguy classics.

 

Its obvious to myself and other Sammet devotees that Avantasia has gotten most of his attention for the past half a decade now; consider that all of a sudden Avantasia’s total album count tallies at six, only three behind Edguy’s nine. In fact, since 2006, Sammet has delivered four full length Avantasia albums plus two EPs, while Edguy has only released three albums. If Avantasia has gotten the better half of Sammet’s songwriting for the past few years, its reasonable to say that Edguy has diminished in turn. Slowly, gradually, Avantasia has become Sammet’s main priority and Edguy is increasingly an afterthought.

 

There’s a fellow who goes by the name Empyreal on the Encyclopedia Metallum, whose reviews for various Edguy/Avantasia releases so often mirror my feelings as to why I love Sammet’s work so much. And as a fellow details obsessed devotee, Empyreal points out exactly what I was thinking about The Mystery of Time,

“A lot of these songs are more traditional rock-based ones, like Tobias usually does, even if they are markedly less “fun” sounding than he’s usually known for. I didn’t expect him to dive head-on into his new experiments without some forays back to the familiar territory, but it would help if some of these songs were better.“

I think that Empyreal is touching on something that has been bubbling under the surface for many Sammet fans, namely, it seems that the blend of rock and metal is tilting very far into rock and further and further away from anything remotely metal related. Heck, the new album is even subtitled as “A Rock Epic” for that matter, the era of the Metal Opera is long over apparently, as Sammet is deliberately distancing himself from a tag that admittedly does seem more and more burdensome. Now this wouldn’t even be an issue if the two bands didn’t sound so stylistically similar, but they’re becoming virtually indistinguishable in that regard. The hard rock infusions don’t bother me by themselves, but it does beg the question: Is there really that much of a difference between Edguy and Avantasia anymore? And to further that question, is Edguy relevant to Sammet, and if so, is there a way to get it out of the grand shadow cast by his larger than life side project?

 

[youtube http://www.youtube.com/watch?v=5oeuqm5j2aA?rel=0&w=560&h=315]

 

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